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Francesco Bartolozzi, R.A.

Francis Bartolozzi esqr

"Connoisseur" Extra Number

Francesco Bartolozzi, R.A.

A Biographical Essay

By

J.T.Herbert Baily

With a Catalogue of the Principal Prints,
and a Six Years' Record of Auction Prices

LONDON :
Published by

OTTO LIMITED

CARMELITE HOUSE, B.C.
1907

LOAN STACK

FRANCESCO BARTOLOZZI, R.A.

A Biographical Sketch.

THE name of Bartolozzi can hardly be mentioned by the
connoisseur and the print collector without a little thrill
of emotion. To possess a few of his famous stipple
engravings makes any man's study a place of pride and
pleasure, and the possessor himself a person to be envied by his
friends. For these engravings have not only steadily increased
in commercial value — which, after all, is one test of artistic
immortality — but they are now prized by students of engraving
as the most perfect and beautiful expression of what is now
nearly a forsaken art — the stipple being little used as a means
of reproduction. Although it cannot be claimed (though it is
often, and wrongly, claimed) that Bartolozzi introduced this
form of engraving to England, he stands alone as the pre-eminent
master of it. It was he who caused it to be " all the rage " among
the connoisseurs of the eighteenth century, it was he who founded
a school of stipple engraving which had many good and gifted
disciples, and by his genius and industry he founded, single-handed, a
great collection of prints, which are now amongst the most treasured
things in the world of art. It is not to be disputed that he had
certain qualities which placed him above all his contemporaries
who practised stipple engraving. The extraordinary ease and
grace with which he wielded the graver, the exquisite delicacy
of his touch, his greater sense of light and shade, give to his
engravings, from the point of view of technique, a perfection which
no one else obtained in this medium. And this technique is the
perfect means of expressing his ideals of beauty. One may marvel
at the extraordinary sensitiveness of his touch when one examines
one of his prints through a microscope, but after all, that is not
the way to look at a print, and putting technical analysis on

Francesco Bartolozzi, R.A.

one side, Bartolozzi's works appeal to everyone by their qualities of
softness and their luminous effect, by their charming gracefulness
and tenderness, and — to the popular mind — by their elegant
sentimentality.

To the student of English social life, and of art as it affects
society, Bartolozzi prints have another significance — they are com-
pletely characteristic of the culture and taste newly awakened at
that period in England, and expressed by the old-fashioned word of
"chaste." Directly inspired by the Italian Renaissance, they
appealed strongly to the love for classical art, which, very late
compared to the other nations of Europe, now invaded the middle
classes of this country, after belonging exclusively to the aristocracy.
It must be confessed, that in pictorial art, England has been very
backward. We can boast of very few painters before the eighteenth
century— the court painters of the Stuarts, Sir Peter Lely and
Sir Godfrey Kneller, were both Germans — but at the time when
Bartolozzi came to England we had begun our history of painting
in a blaze of glory. Many of the great names in English art belong
to this period — Reynolds, Gainsborough, Raeburn, Romney;
Hoppner, Wilson, Hogarth, Morland, Lawrence, to mention but a
few, come in a cluster in the latter half of this wonderful eighteenth
century. Their genius penetrated downwards to classes which
before had been darkly ignorant of art, and even the host of medio-
crities who surrounded them, helped at least to cultivate certain
ideals, and to establish a certain standard of taste. The classical
ideals of Italy were dormant. In quite a "chaste" way the English
people allowed themselves to taste a pleasure in the beauties of the
human form, though they still preferred it "decently draped."
Cupids however were not thought to be too shocking, and these,
with beautiful nymphs slightly robed, were subjects permitted even
to be copied in young ladies' academies, and were lavishly used in
designs for book-plates, head and tail pieces, and invitation cards.
We may smile now at many of these feeble little strivings after the
classical ideals of beauty, but at least they were evidence of a newly-
awakened sense of art in English Society.

Bartolozzi was one of the men who came on the tide of this
enthusiasm for classic art, and he lifted it above the merely pretty

vi.

A Biographical Sketch

trifling of amateurs. He gave the English public their cupids and
their nymphs, and they loved him for them, but his cupids and
nymphs were drawn with perfect and delicate skill ; and he gave
them something more ; he reproduced for them many of the great
works of the Italian masters, so that they had before them the true
ideals of beauty. He worked also hand-in-hand with their own
English masters, and such men as Joshua Reynolds were happy in
having engravers of skill, among whom Bartolozzi takes high rank,
to interpret their genius in black and white, and make it familiar to
the great public. Bartolozzi, indeed, more than other engravers of
his time, expresses most perfectly the characteristics of English
taste and beauty belonging to his period, and both in his classical
subjects and in his reproductions of portrait-paintings, this Italian
is closely associated in our minds with the spirit of culture and
fashion in eighteenth century England.

Francesco Bartolozzi, to give him his full name, was born at
Florence, in the year 1727, and was the son of Gaetano Bartolozzi,
a goldsmith. His family was already an honourable one in Italy,
and belonged in earlier days to the noble order rather than to the
bourgeois class. For a future artist it was well to be born in
Florence, and the son of a goldsmith, for in such a city, and in such
a home, a child's imagination would be quickly stirred by the works
and tools of Italian art. Though art in Italy was decadent at this
time, the genius of the great masters remained as a glorious
heritage and tradition. The very stones of Florence cried out the
fame of the painters of the Renaissance, who had lived and
laboured here. The Florentine galleries and churches contained
many of the immortal and priceless treasures of the classical
school. Florence itself, a city built in beauty, and haunted by old
ideals, was a continual inspiration to an artistic soul. So young
Francesco, born in this environment, was naturally educated in
classical forms of beauty, and in the goldsmith's shop learnt, as many
other goldsmith's sons, to handle, when still a child, the pencil, the
graver, and the brush. His father was an engraver as well as a
craftsman — there are specimens of his work in the British Museum
— and he did not baulk the ambition of his young son to become
something more than a designer in metal. Having learned the

vii.

Francesco Bartolozzi, R.A.

elements of drawing, and to use the graving tool with ease and
dexterity, Francesco, at an early age, became a pupil in the Academy
at Florence, under the instruction of Ignazio Hugford,an Englishman
born in Flanders. Hugford was an historical painter of no great
ability and of but little inspiration, and young Bartolozzi could have
learnt nothing worth learning from him as regards colour and
brush-work. But he provided models and gave lessons in artistic
anatomy, and in this school Bartolozzi learnt to draw the human
form with an accuracy of line and gracefulness of touch which
became afterwards his most valuable qualities as an engraver.
Here, also, in these early years, he studied the antique with an
awakened enthusiasm, and soaked his spirit in classical traditions.

Not only Italy of the Renaissance was to be seen by him in
Florence with all her beauties of colour and form, but some of the
glories of Greece and Rome from which the Florentine painters had
received their vita nuova were gathered in the great galleries of the
city with their divine realisation of the perfect human form. It is
not surprising, therefore, that Bartolozzi should have been a
life-long interpreter of classic models.

During his boyhood in Florence Francesco made one comrade
who was to be in after years his closest friend and his constant
collaborator. This was Giovanni Battista Cipriani, a pupil like
Bartolozzi at the Florentine academy, and curiously like his
fellow-student in temperament and taste. Cipriani was influenced
in the same way by the Italian classics, and had the same enthu-
siasm for the beauty of the human figure, and especially for female
loveliness. He belonged to an old Pistoja family and received his
first instruction from an English painter named Heckford who had
settled at Florence. After some years' study in Rome his graceful
drawings gained great popularity and attracted the attention of
Sir William Chambers, and Wilton the sculptor, who invited him
to England, to join a little band of brother-artists of Italy
who were exercising a great and worthy influence upon the new
English school of art. Cipriani, therefore, came to our country in
1755, and settled in London as a member of the St. Martin's Lane
Academy, where his charming designs soon attracted the favour
of art patrons and connoisseurs. It was to this friend and

viii.

A Biographical Sketch

compatriot that Bartolozzi first turned when he too, some years later,
received a call to England. But before that time he had perfected
his training in other schools. After a brief visit to Rome, where
he received the revelation which the Eternal City always has for
the soul of an artist, he was articled, at eighteen years of age, for
a term of six years, to Joseph Wagner at Venice. This man
Wagner was an engraver of historical subjects, and a print-seller
with a European connection. As an artist he was of little account,
and there is no doubt that but for Bartolozzi's early influence and
natural genius he would hardly have escaped degradation during
this apprenticeship. Wagner was simply a man of business, and
he set his pupils to reproduce any pictures that pleased the fashion
of the time, in order to supply the market. Bartolozzi seems to
have been his drudge, and wasted his talents in engraving with
laboured diligence the enormous plates of Giacomo Guarana, and
ecclesiastical subjects by Italians of second-rate ability. Some of
these are signed Gian Batta Piazzetta, pin. {F. Bartolozzi, sculp.
J. Wagner, recognorit et Vend.). But in spite of this hack-work
Bartolozzi's taste was not ruined, while his hand naturally acquired
a technical ability. In Wagner's print-manufactory (it was nothing
else than that) he at least learnt very thoroughly various processes
of the engraving art, and a quickness and certainty of execution
very valuable to him later on. At the same time he allowed his
originality some scope. " Nor indeed," says Tuer* in his biogra-
phical study of Bartolozzi, " can any grave deterioration or serious
arrest of development be traced in his work as a result of the
copying of bad pictures at this stage of his career. A certain
waste of time and the negative loss of the advantage of fine models
must of course be lamented, but as soon as he was emancipated
from working for corrupt tastes, his free and masterly style and
sweetness of touch became more and more apparent. In the
course of a short time he may be said to have loosed his graver
from all restraint and thenceforward to have given full play to his
transcendent abilities." While still working for Wagner he
indulged his fancy in original composition, and his favourite means
of expression were drawings in black and red chalks on white
paper. The influences of his early life were now revealed in

• Bartolozzi and his Works," by Andrew W. Tuer, F.S.A. 2 Vols., 1882. Leadenhall Press.

ix.

Francesco Bartolozzi, R.A.

these delightful examples of his original art. The Greek and
Roman mythologies were the source of his inspiration, and in his
goddesses and Bacchanals, his nymphs and cupids, he shows that
wonderful knowledge of the human anatomy and that delicate
sense of female beauty which he had learnt rather by intuition
than training in his native city. These drawings have all the
qualities of his later work in engraving, a beautiful luminance, an
exquisitely graceful line, a softness of touch, and a sweetness of
expression, which have been so often praised and must never
cease to be admired. They prove conclusively that Bartolozzi
was no mere copyist, that as an engraver he did not rely only
on mechanical fidelity of reproduction of other artists' designs,
but that in taking a design or interpreting a painting by the
graver he gave full scope to his own temperament and invested
his subjects in his own characteristic spirit.

During his apprenticeship in Venice, Bartolozzi met, and fell in
love with, a young lady of high birth, named Lucia Ferro. One
would like to know more about this lady and of the romance that
entered into the life of this young artist, but, to tell the truth,
history is silent about much concerning Bartolozzi. There has
been no revelation of the man's soul, save as it is expressed in his
work. In England he was, it seems, a simple, genial man, open-
handed with his money, devoted to his work, and modest about his
abilities ; but of his passion, or of the weakness of his heart we know
little. Yet there is some secret behind his relations with the
Donna Lucia. We may guess that her family was not too well
pleased with the match between their daughter and this young
Florentine, who at that time was unkown to fame, and of no fortune
save the skill of his right hand ; but we know that soon as his
apprenticeship was over, he gave hostages to fortune, and married
her. It was doubtless owing to her family influences as well as to
his own talent, that he received the patronage of one of the great
ecclesiastics of Rome, Cardinal Bottari, and at the invitation of his
powerful friend, the young husband and wife took up their residence
in the Eternal City. Here a son was born to them, whom they
christened Gaetano, and doubtless in those early days poverty was
a thing to laugh at, with love around a little cradle, and with the

A Biographical Sketch

glamour of future fame before their eyes. For some reason or
other, however, Bartolozzi does not seem to have succeeded much
in Rome. He was always industrious, and seized his opportunity
to copy the works of Domenichino, and other great masters.
Commissions for engravings or paintings, or the red chalk
drawings, did not flow in as fast as might have been hoped from the
influence of the Cardinal. It is claimed by his early biographers
that he was favoured by Ferdinard IV. of Naples, by the Emperor
Francis I. of Austria, and by the Medici rulers of Tuscany, but this
patronage could not have amounted to much, as some years later,
he was willing to exile himself for the not very magnificent salary
of £300 a year. We find also that he returned to Venice with his
wife, and again took commissions from Joseph Wagner and other
print sellers, through whom he became known to the collectors and
connoisseurs in London, where there was now an eager demand for
classical paintings and engravings. His reputation came to the
knowledge of Richard Dalton, keeper of the Royal collection, who,
in 1763, was sent by George III. to Italy to purchase pictures,
drawings, medals and sculptures. Dalton's career was very
curious, and deserves a word or two. He was born about 1720, at
Deane, in Cumberland, and was of quite humble origin. Coming to
London, he was apprenticed to a coach-painter in Clerkenwell, and
while painting armorial bearings on coach panels, discovered in
himself a talent which he thought was worthy of better things. He
studied drawing and engraving, and became an etcher of a certain
mechanical ability, though without much native genius. He
produced a number of plates which found favour with the public,
and made his name well known, among other subjects being the
Holbein heads, of which Tuer says, rather cruelly, that " the best
that can be said of them is that a quantity of good copper was
spoilt." For a time he studied in Rome, and here, meeting Lord
Charlemont, accepted an invitation to accompany him to Greece.
Upon his return he was appointed librarian to the Prince of
Wales, afterwards George III., and, as already mentioned, was
subsequently sent by the King on a mission to Italy.

Whatever may be said of Dalton's own work, he at least
deserves praise for having recognised the genius of Bartolozzi, and

XI.

Francesco Bartolozzi, R.A

praise also, as a business man, for driving a good bargain. It was
he who offered Bartolozzi a contract of £300 a year for a term of
three years, if he would go to England in his employ, with a
promise of becoming engraver to the King. He also commissioned
him on the spot to do a series of etchings from drawings by
Francesco Barbieri, commonly called Guercino. Bartolozzi
accepted both his commission and the contract, and in 1764, at the
age of thirty- seven, left Italy for ever.

He left it alone, and Lucia, his wife, not only remained behind
then, but never rejoined her husband. She had borne him several sons
and daughters, though all died young save Gaetano, the eldest, who
afterwards, as a young man, went over to his father in England,
while his mother still remained. What was the meaning of this
separation ? Why did Lucia Bartolozzi stay solitary in Venice,
while her husband, whom she had married for love, for whom she
had left her family, when he was poor and far beneath her in
social rank, was now living in comparative luxury, flattered by
great men, and famous throughout Europe ? History is often
annoying in its silence. There are so many things we would like to
know, and we can only grope blindly in the caverns of the past.
This is one of the secrets which history does not reveal, and by
an amazing coincidence, there is another secret, and another
marriage of another artist, living at the same period as Bartolozzi,
and precisely similar in the bald facts which suggest a hidden
drama. George Romney left his wife, when, as a young man, he
came in poverty to London to seek his fortune. With him and
her it had been a boy and girl marriage, as with Francesco
Bartolozzi and Lucia Ferro. He had parted from her when London
had called to him with that seductive voice which has lured so
many men on to ambition, to fame, to fortune, or to despair and
death. Romney was one of those who gained success, but his
wife never came to share it, and man and woman who had been
"joined together till death do part," joined each other after their
separation, only when death beckoned to one of them — the husband.
This also is a mystery that has never been explained, though Mrs.
Humphrey Ward has imagined an explanation in her novel,
" Fenwick's Career." Not even a novelist has suggested an

xii.

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The G I RL and KITTEN

A Biographical Sketch

explanation of Bartolozzi's case. What passionate antipathy had
taken the place of love, what coldness had chilled two hearts which
once had loved, what secret tragedy had made it better for
Francesco and Lucia to live apart, we have no means of
knowing. The woman's fate was the worse. In such cases it
always is. Bartolozzi, at least, had the consolation and the
joy of his work. His wife had not even the consolation of her
children. All but one died like the flowers of spring, and that one
— Gaetano, the first-born, left her to go to his father. She was
lonely, lonely in the worst way, when, long after the death of
the husband with whom she had not lived for so many years, she
became blind before she groped her way at last to the restful
grave. It is all a curious tragedy, very pitiful, whatever may be the
details of it.

As already mentioned, it was to his former schoolfellow and
comrade Cipriani, that Bartolozzi turned upon his first coming to
England, in order not to feel quite friendless in a foreign country.
Cipriani, who had been here some years, received his compatriot
warmly. They shared lodgings together in Warwick Street,
Golden Square, then a place of some style. According to
Tuer, Bartolozzi's first work in England was to complete the
commission for the series of engravings from Guercino's drawings,
which had then passed into the Royal collection, and among other of
his prints of this period which immediately gained the admiration of
the collectors were the famous line engraving, called "The Silence,"
after Carracci, representing the Virgin and Child and St. John, and
the most beautiful and charming " Sleeping Boy " after Sirani.
But Bartolozzi soon discovered that in order to satisfy the
fashionable taste of English society, he must adopt a new method
of reproduction — the stippled style of engraving. This method had
been known, but not extensively used, by artists of the sixteenth
century, such as Diirer and Lucas van Leyden. Later it was
adopted by Ludwig von Siegen, the inventor of mezzotint, who (as
we learn from that admirable book by Mr. Alfred Whitman — "The
Print Collector's Handbook ") alluded to it in his letter to the
Landgrave of Hesse, dated 1642, as "a method hitherto very

xiii.

Francesco Bartolozzi, R.A.

uncommon, called puncturing, executed entirely with points, and
with great labour."

But although not a new discovery, it was not until the eighteenth
century that stipple engraving with an improved method of
technique became really fashionable, the impetus being given to it
in France, to which England owes such an enormous debt in all
branches of art. A few words of explanation as to the process
may be interesting to those unacquainted with this technique. In
the ordinary way of engraving, a copper plate was coated with wax,
and the engraver then sketched out his subject with an etching
needle, these lines afterwards being bitten on to the plate with acid.
The wax was then removed, and the engraver went over the bitten
dots with a finely pointed tool called a stipple graver, with which he
put in, at the cost of considerable labour, and only by the surest
and most sensitive touch, the fine effects of light and shade required
in this style of engraving, which depended entirely for its success
upon the appearance of softness and delicacy.

The first English engraver to successfully adopt this method
was William Wynne Ryland, who had learnt it from the French
engraver Jacques Philippe le Bas, and who reproduced, in stipple,
the pretty, but rather insipid, water-colour drawings of Angelica
Kauffman, that beautiful and charming creature who had just
come to live in London. Ryland gained a widespread popularity by
his association with " Miss Angel," as she was called by her English
friends, and it was the cause of a turn of the wheel in his amazing
ups and downs of fortune. Born within the dark shadow of the
grim Old Bailey, where his father, an engraver also, was imprisoned
for debt, William Wynne Ryland was marked out for a tragic
destiny, though he enjoyed a brief flight of dazzling success. The
story is well known how Blake, the poet artist and visionary, was
taken as a child to see this famous engraver, and said with the gift
of prophecy: "I don't like that man's face. He looks as though
he were born to be hanged." And truly enough in the intellectual
melancholy face of Ryland there seems to have been a kind of fore-
warning of a tragic fate. But for a time fortune seemed to flout
this ill-omen. Ryland went to Paris, studied under the famous
painter Boucher, learnt le Bas's secret, and came to England again

A Biographical Sketch

with this new style, which become a fashionable craze. He was
appointed engraver to George III., and afterwards, in partnership
with a pupil named Henry Bryer, opened a print-shop at the Royal
Exchange. He might have made a fortune, and did earn a very
large income ; but he led a life of dissipation, and his wild
extravagance was far in excess of his earnings, so that he became
a bankrupt in 1771. It was then that he went to Angelica
Kauffman, penniless, to beg her for the loan of her portfolio
so that he might reproduce her water-colours in stipple for
coloured prints. The success of these reproductions was
immense. Angelica's sentimental designs appealed enormously
to the English public as they were interpreted by Ryland's exquisite
skill, and the engraver once more enjoyed prosperity, starting a new
business, for the sale of his prints, at 159 Strand. To that shop
Bartolozzi went frequently, and from William Ryland he received
his first lessons in stipple engraving. It is to the credit of Ryland
that he met this Italian, not as a rival to be feared, but as a friend
to be encouraged, and it does not lessen Ryland's own genius, and
his merit in having been the first to introduce the style into
England, that Bartolozzi soon became pre-eminently the greatest
master of that style, giving to it a delicacy and grace and charm
which even Ryland could not equal. It was to Bartolozzi that
Ryland turned in his last agony. There was in his soul some
moral weakness which led him to destruction. Though he had
recovered from the first ruin of his fortune he plunged again into
reckless expenditure, and then into disastrous debt. Perhaps
he could not escape from the evil influence of that grim prison
in which he had passed his childhood, where poor devils boasted
of their prodigal adventures, fostered the gambler's instinct
of a toss for fortune, with ruin on the wrong side of the dice,
and dulled the fine edge of conscience and the moral code by
rubbing shoulders with rake-hells and men who had staked and lost
their honour. Faced with social disgrace Ryland madly endeavoured
to retrieve his position by a criminal act. Using his skill as an
engraver he forged some notes, and as was inevitable, was found
out. It was no longer social disgrace that faced him. Death,
in those days, was the punishment for forgery, and it was death,

XV.

Francesco Bartolozzi, R.A.

that, after his madness, Ryland faced like a gentleman. To us
who do homage to his genius, who have lingered long and lovingly
over his superb prints, it is a frightful thing that King George
should not have exercised his royal prerogative of mercy upon his
own engraver, and though Ryland had been guilty of a grave
crime, our blood boils at the vision of that young man (described
in such vivid detail and in such loving language by Mr. Horace
Bleackley in his interesting and scholarly book "Some Distinguished
Victims of the Scaffold") passing in a felon's cart amidst a foul-
mouthed crowd, but holding his head high, and gazing with steady
eyes into the face of King Death, to that shameful gallows. While
he was in prison he begged for a brief respite that he might com-
plete a partly finished plate after Hamilton of " King John ratifying
Magna Charta." His wish not being granted he sent to his friend,
Bartolozzi, and asked him to finish it for the benefit of his wife.
Bartolozzi promised to fulfil the doomed man's desire — one would
have liked an account of that last tragic interview between two of
the greatest engravers of the age, and between these two men
who had known each other intimately and had worked with
enthusiasm for the same ideals — and the Italian engraver faithfully
carried out the commission, lavishing all his skill upon the plate
in which every line was haunted with the painful memory of the
unfortunate gentleman, so it is generally regarded as one of
Bartolozzi's finest achievements.

During his three years' engagement with Dalton, our engraver
worked industriously, and reproduced many of the paintings in the
Royal Collection, and in other collections in England. As soon as
he was liberated from his contract he was able to make a consider-
ably larger income owing to the commissions which were eagerly
thrust upon him by the print-sellers and connoisseurs. Among
his best employers was Alderman Boydell, the celebrated publisher,
from whose printing presses at the shop in Cheapside came so many
of the finest and most famous engravings of the Eighteenth
Century. John Boydell, Bartolozzi's friend, was a man of genuine
artistic knowledge and taste, and of fine enthusiasm for the en-
graving arts. As a generous patron of the engravers he helped
many a young and unknown man to fame and financial success,

A Biographical Sketch

and though at the same time, of course, Boydell was consolidating
his own fortune, yet it was not in an entirely commercial spirit
that he conducted his business. Very daring and adventurous, for
instance, was his illustrated edition of Shakespeare's works, which
involved him in an expenditure of £150,000, and nearly caused his
ruin owing to the French Revolution, and the loss of so many of
his distinguished patrons on the other side of the channel. From
90, Cheapside, Boydell removed to the Shakespeare Gallery, at 6,
Pall Mall, which became the rendezvous of fashion and art. With
many noble connoisseurs it was a usual thing, after breakfast, in
St. James's, to " see what Boydell had got in the way of a new
thing," and to pass judgment upon the method and style of some
new painter or engraver brought to their notice by Mr. Boydell.
This fashionable world still comes to the exhibition at Messrs.
Henry Graves & Sons', the direct successors to the Boydells. The
present print-publishing business is carried on in best traditions of
Mr. Alderman Boydell, and is renowned inthe world of art. Bartolozzi
engraved a great collection of plates for this firm, including a large
number after Guercino, Annibale, Carracci, Carlo Dolci, and after
his friends Cipriani, Angelica Kauffman, and Joshua Reynolds.
Among the most celebrated plates, however, which he engraved for
the Boydells are his "Venus, Cupid and Satyr," from Luca Giordano,
" The Lady and Child," from Sasso Ferrato ; " Mary Queen of
Scots and her son James I," from Zucchero, and his " Clyte," from
Carracci, which is generally considered to be his masterpiece.

At this time, Bartolozzi was a man of some social standing in
England. As officially-appointed Engraver to the King, he had a
kind of diploma, which at that time was of some account, and in
1765 he became a member of the Incorporated Society of Artists,
in whose rooms he exhibited annually original drawings, and proofs
and plates after Carracci, Giordano, and others. The greatest
honour, however, that was given to him by those whose opinions
he prized most, was his appointment as an original member of the
Royal Academy, which was founded in 1769, with Joshua Reynolds
as its first president. It was certainly due to Reynolds, who had
the highest opinion of Bartolozzi's ability, that the engraver took
his seat by the side of the foremost painters of England, receiving

xvii.

Francesco Bartolozzi, R.A.

their homage to his genius as " The Engraver of the Graces," as he
was rather felicitously called. It is pleasant also to know that
Battista Cipriani, his old schoolfellow at Florence, was also one of
the first members of the Academy. Seldom in art has there been
two friends whose services so closely coincided. Both born in
Florence, both trained by English masters, domiciled in Italy, fol-
lowing each other closely to Rome and then to England, they were
united here again by a delightful partnership of talent which pro-
duced many of the most charming prints which the collector may
possess. It may be claimed that Cipriani was the more original of
the two friends, for it was he who provided many of the designs
for Bartolozzi's stippling-graver. But really it was a very close
collaboration. Cipriani owed as much to Bartolozzi as the latter
to his friend. Their style and choice of subject were very similar,
and when Cipriani rapidly sketched out a classical design of nymphs
and cupids and graceful creatures of an allegorical character,
Bartolozzi engraved them with a wealth of new detail, and elabo-
rated them with an exquisite sense of form and decorative effect
which gives him a sufficient share of originality. The two men
thus worked hand in hand to supply the public demand for these
stipple engravings of classical sentiment, and neither cared to
claim any superior merit. It was sufficient for them both that
together they were able to produce, with immense rapidity, and
always with the most conscientious care for the ideals of their art,
such a number of beautiful plates. It is not often that two artists'
minds have worked in such harmony without the slightest jealousy
or egotism. One branch of their art was of a somewhat modest
character, and would nowadays be considered beneath the dignity
of celebrated men. They produced an immense number of "benefit
tickets," and invitation cards for fashionable balls, and noble or
civic receptions. In many cases Bartolozzi engraved these for his
patrons free of charge. He worked so rapidly, and was so naturally
modest and generous with regard to his work, that to engrave a
design for an entertainment seemed to him of not much account
except as a means of showing a little graceful courtesy to distin-
guished patrons. Yet, many of these " benefit tickets," as they
were called, are gems of art, and prized by collectors now as most

xviii.

A Biographical Sketch

precious treasures. The majority of them were designed by
Cipriani with his graceful allegorical fancy, and Bartolozzi engraved
most of them entirely by hand, instead of setting his pupils (as was
his practice when he became successful) to work in the roughest
part of his stipple before he transformed them by his delicate and
magic touch. In many ways they are most characteristic of the
genius of the two friends, as well as of the artistic taste of
their time. " How very chaste ! " would have been the expression
of the charming ladies who received such invitation cards to balls
and events at Holland House, cards to be treasured up in the fancy
boxes where the pretty Jane or the gentle Lucy kept her dance
programmes ticked with the dances for which she had obtained
partners, with a few pressed flowers fragrant with tender memories,
with a packet of scented love letters which perhaps had led to
matrimony and a nursery full of charming children, or perhaps
only to a secret little romance which would call tears to the eyes of
spinster ladies when they remembered their youth. Some of these
benefit tickets may still be found occasionally in country houses,
treasured by the great-great-grand-daughters of those dear ladies
who had been ravished by the genius of Mr. Bartolozzi when they
received an invitation to a ball at the Mansion House, or to a soiree
at the beautiful Duchess of Richmond's.

It is also interesting to note here that the stipple engravings of
Bartolozzi and his school were not only sought after by London
Society and fashionable patrons of art. They spread an artistic
culture throughout the substantial middle class of England, which
until that time in the Georgian period had been but little influenced
by art. And in small country houses far from London, and even
in farm houses and the rustic dwellings of comparitively poor but
" genteel " folks, the walls of the ladies' sitting room were adorned
with engravings and colour prints in the classical and allegorical
style then so much in favour. Many of them were feeble imitations
of Cipriani and Bartolozzi, pretty enough in their oval frames, but
insipid and sentimental. But here and there, far away from
London, the connoisseur who goes into these old country
houses, is surprised and delighted to find (sometimes relegated to
the bedrooms), a genuine print with Bartolozzi's signature

Francesco Bartolozzi, R.A.

attached, beautiful on the walls, where it has hung for several
generations. It is one of those interesting signs that the art
movement in eighteenth century England was exceedingly popular,
and spread throughout the country.

Bartolozzi's nomination as an original member of the Royal
Academy, was the cause of one of his masterpieces of engraving,
for he was entrusted with the task of engraving the Diploma to
which the King puts his sign manual when an artist is appointed
an academician or an associate. It was Cipriani who invented
the design, which is one of real beauty and dignity. Art,
represented as a beautiful woman, crowned and enthroned, is
supported by Hercules and Apollo, on either side, representing
labour and genius, while at the feet of Art, listening to her dictates,
sit the three sisters, Architecture, Sculpture, and Painting. On the
left is Britannia, with the British lion posing at her feet and gazing
upon the scene with that stolid air of stupidity, which is, it must be
confessed, the general attitude of the British public towards the
ideals of art, though less so at that time than now.

Cipriani had sketched out this quite effective design, but the
greatest credit is due to Bartolozzi for the magnificent work of his
engraving, so perfect in its technique, so full of grace, and beautiful
light and shade. It was a worthy diploma for the membership of
an institution, which, in spite of all later abuse, has always been
of the greatest influence in English art. Nowadays there are few
things more prized by collectors than one of these proofs inscribed
with the name of the academician and signed with the Royal hand.

Unfortunately Bartolozzi's honour in being one of the original
members of the Royal Academy did not go unchallenged. By the
terms of membership he was not strictly eligible by his profession
as an engraver, and he was elected formally as a painter. It is
generally supposed that he exhibited a painting for this purpose,
but there is no record of any such picture having been presented,
and indeed, although in his early days he had used the brush as
well as his graver and his pencil, it is almost certain that at this
period of his life he was entirely occupied with his plates. Sir
Joshua Reynolds, who recognised his genius, and the great debt due
to his power of reproduction in which there was so much originality

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A Biographical Sketch

and individualism, showed the best judgment in placing such a man
upon the first roll-call of his Academicians, but by doing so he
excited the jealousy of other engravers, who considered themselves
to have an equal right of election as Bartolozzi, one of them did not
hesitate to challenge the academy on this score. This was Sir
Robert Strange, whose Scottish temperament was roused to
intense anger by the preference shown to his Italian competitor.
Strange himself was an engraver of high merit, exhibiting a fine
boldness of line, though his drawing was considered by contemporary
critics to be somewhat faulty. He had more than one grudge
against Bartolozzi, for he had come in conflict with him when he
was still in Italy. That was when Dalton, the keeper of the King's
collection, had gone on his mission to obtain Italian works of art,
and to commission Italian engravers to reproduce the works of the
old masters. Having taken Bartolozzi under his protection, he
used his own name and office to obtain permission for him to
reproduce pictures not accessible to ordinary engravers. Strange
accused him of working in this way in an underhand and
dishonourable manner, pretending that he thought of purchasing
such pictures on behalf of George III., in order to get access to
them for Bartolozzi, to the prejudice of others who could not
command such influence. Strange alleges that in the case of the
Aldrovandi " Sleeping Cupid " he was refused permission to copy
it on the ground that Bartolozzi was making a drawing of it to
submit to George III. through Richard Dalton who had recommended
its purchase, whereas the truth was that the drawing was never
sent to the King, but remained in Bartolozzi's possession for the
purpose of an engraving. Another of Strange's charges was even
more serious against the honour of Dalton, and in the opinion of his
accuser, against Bartolozzi himself. When Strange first met Dalton
at Bologna, Dalton replied unsuspiciously to the Englishman's
questions as to what pictures he intended to copy, in order to engrave
them afterwards. Among those he mentioned were " The Circum-
cision," and " Abraham putting away Hagar" by Guercino, and " Ss.
Peter and Paul," and the " Cupid " by Guido Reni. To Strange's
surprise and mortification he found that Bartolozzi was commissioned
by Dalton to reproduce exactly the same pictures, in spite of the

wi.

Francesco Bartolozzi, R.A.

emphatic denial of any such intention. When Bartolozzi first came
to England, Strange inspired certain paragraphs in the newspapers
hostile to his reputation, and afterwards upon his election to the
Academy returned to the charge in a pamphlet, published in 1775,
entitled " An Inquiry into the Rise and Establishment of the Royal
Academy of Arts, to which is prefixed a Letter to the Earl of
Bute." Among the other accusations against Bartolozzi, was one
pretending that the Italian engraver had gone to his friend and
compatriot Cipriani to beg for an exhibition painting, for the
purpose of securing his own election to the Academy.

At this date it is extremely difficult to enter into the merits of
Strange's arguments. The last charge may be dismissed entirely,
for there is no evidence that Bartolozzi ever did present a picture
to the academy before his election, and in any case he had enough
original genius, as is proved by his works, not to need the assistance
of any friend so to obtain any honour in a fraudulent way. As
regards the accusation about obtaining access to the works of
the Italian masters, it does seem as though Dalton had rather
strained his influence as the agent of the English King in order to
obtain an unfair advantage over other engravers. But be this as
it may, there is nothing that reflects upon the honour of Bartolozzi
himself, who was entirely in the hands of Dalton, and had no
reason to refuse his commissions. The whole business must be
read in the light of Strange's character. He was an impetuous,
self-willed, hot-tempered Scotsman, whose early training and
temperament tempted him to a violence of statement in excess of
the plain facts. As a young man he had wielded the claymore
at Prestonpans on behalf of the Pretender, and he was never a
man of peace, though to all accounts an honest and courageous
gentleman. He took himself and his art seriously, and at one
time seriously neglected his opportunities by contemptuously
refusing to engrave certain poorly inspired pictures in the
collection of King George in order to follow his own inclinations
to reproduce the great masters of Italy. But his admirable talent
secured for him later a strong reputation in Europe, and, as he
described himself with pardonable pride on the title page of the
pamphlet mentioned above, he was a " Member of the Royal

XJCli.

A Biographical Sketch

Academy of Painting at Paris, of the Royal Academy of Rome,
Florence and Bologna, Professor of the Royal Academy at
Parma," etc. He always possessed some characteristics of the
soldier of fortune with a swash-buckling manner and a truculent
temper, and though, as already said, he took himself seriously, his
self-opinion was not altogether shared by his contemporaries.

Bartolozzi was urged by his friends to reply to the attack, but
very wisely answered not a word and accepted it with philosophical
indifference, the result being that it was quickly forgotten, and
did not in the least injure Bartolozzi's reputation in England.
William Carey, one of the Italian engraver's most intimate friends,
wrote in "The European Magazine" for 1815, that Bartolozzi was
never conscious of having intentionally offended or injured Strange,
either abroad or at home, and that he was of opinion that it was
only natural for an artist of Strange's acknowledged abilities to
feel hurt by the reception of a foreigner, like himself, into the
Royal Academy, when the governing body refused to admit their
own distinguished countryman. The private feud which had been
fanned into flame by Sir Robert Strange eventually died down in
the heart of that artistic Scotsman, and in after years there was
no ill-feeling between the two masters of engraving. Each of them
paid a generous homage to the other's genius, and while Strange,
remembering the silence with which Bartolozzi had met his attack,
uttered cordial words of admiration, not only for the beauty of his
work but for the kindly heart of this foreign artist, Bartolozzi was
not reluctant in the praise he gave to Strange for the strong effects
of light and shade he produced in his engravings, for the realism
of his flesh tints, and for the general excellence of his technique.
He could not be blind to his rival's faulty drawing, but he merely
remarked what a pity it was that Strange had not had the
advantage of an early training in the study of the human figure.

Somewhere about the year 1780 Bartolozzi, who was now
at the height of his fame, went to live at North End, Fulham,
not far from where, at a later period, that great and solitary genius
Turner used to go to those low-class haunts, where, in the tap-rooms
of the taverns, he would dream visions of gold and mist, and ponder
upon the mysteries of light which would put a glamour upon

Francesco Bartolozzi, R.A.

the most sordid scene. Like many other artists Bartolozzi, though
he earned considerable sums of money, could never keep much
of it for a rainy day, and his prodigality and generosity kept him
poor. There is no suggestion among his early biographers that
he had the wild spirits and Bohemian temperament of such a man
as Morland, whose drinking bouts were truly gargantuan in the
consumption of strong liquor. We are told, however, that a day's
outing with his friend Cipriani cost him £50, and that is a sum
which takes some spending on a summer's day. It must not
be forgotten that hard drinking was the fashion of Georgian
England, and doubtless the Italian, who would prefer good
Burgundy to English beer, and a good horse to Shanks's nag,
was not inclined to be economical in his pleasure. But here again
we do not find much to help us in a revelation of Bartolozzi's
true character. It is suggested he was a gay fellow, and certainly
his income was not always in excess of his expenditure, so that he
was often tempted to engrave inferior work for the sake of
immediate payment. A contemporary account of Bartolozzi's
grand-daughter (of whom something will be said later) in a little
anecdotal work called " Memories of the Life of Madame Vestris,"
asserts that the engraver was " fond of his bottle," and tells
a somewhat amusing anecdote, which as it is one of the few
recorded of Bartolozzi deserves to be quoted.

" Lord Craven, who fancied himself an artist, sent for Bartolozzi,
and engaged him to make one of his best engravings from an East
India design of his, for which he agreed to give him six hundred
pounds.

" ' Good God,' 'tis little money, put I will do it, mine lort, you
are my very goot friend.

" Everything was arranged ; the engraver was to work in the
house, and dine at his lordship's table. Lord Craven was only
liberal unto his mistresses. The first day after the bottle had
passed, he showed the engraver into his working room and there
left him. Bartolozzi had no idea but this was only a visit of
ceremony, to inspect the apparatus, and then return to his ' bottle
and friend ' ; so he untied his neck-cloth according to custom,
spread it over his face, threw himself in his arm-chair, and fell asleep.

joriv.

Dr/urn kEiigravcd by G Bartotuz.t.L.

Cere s.

A Biographical Sketch

" About two hours after, Lord Craven, anxious to see the
progress of the engraver, went, himself, to call Bartolozzi to take
coffee. Entering the room he was surprised to find the artist
asleep, and snoring like the sound of his brother's* fiddle. His
lordship looked round, and, horror-stricken, found all was in statu
quo, — no stroke of the engraver was visible on the plate ; upon
which his lordship shook him by the collar until he awoke him.
The engraver was in very ill humour ; he possessed the irritation
of genius in a painful degree, and exclaimed, ' Why wake me when
I was dream for your lordship's good.'

" ' My good,' bellowed his lordship in surprise, ' Why, Bartolozzi,
my man, you have not put a graver upon the plate 1 '

" Bartolozzi now got up and replied : ' Oh yes, my lort, all my
engraving tools are there, laying upon the plate, and dere dey may
lay, and be damn ! '

" ' What is the meaning of this ? ' said his lordship, ' Are you
going mad ? '

" ' Yes, wid vexation ; you take me away from good table, lock
me up in cold room, and I can't do things more vorse than at my
own house. You go back and trink, and trink, and eat, and eat de
fruits, and then come to see vot I do in this hungry dungeon. My
lort, ven I vork, I must eat and trink, and smoke at the same time ;
you send me mine bottle of port, mine shiggar, and mine piskeat,
and I will do you ; but I must have mine own things, and mine own
way, or tammee, I give up de bargain.' His lordship took the hint,
and every day supplied him with the three things he mentioned,
and his engraving was soon finished. Bartolozzi's port, his cigar,
and his biscuit, were always a necessary part of his working tools.
This anecdote was given on the authority of the Lord Redesdale,
of that day."

Another detail of Bartolozzi's " working tools " was his snuff-
box, which was inseparable. He, like the men of fashion of the
period, consumed large quantities of snuff, and as he bent over his
plates with the graver which produced such magic effects of beauty
of dot and line, he would dip into the box and scatter the powder
about the room, as he replenished his nostrils with that curious

* This should be " his son's " ; referring to Gaetano, who was a musician.

Francesco Barto/ozzi, R.A.

stuff, which has now gone out of fashion (save among printers and
compositors, among whom it is always found), but which, like
tobacco, acts as a narcotic as well as a stimulant, according to the
activity of the brain.

Bartolozzi's hand and brain were seldom idle, for whatever
may have been his personal indulgence in the way of port wine,
and other good things, he was the most industrious of mortals.
William Carey tells how he often used to pass the engraver's house
at Fulham late at night, and there in an upper window he would
see a light burning, showing that the great man was still dot, dot,
dotting with his stipple upon the plate, or still putting on the
etching grounds before tracing in one of his elegant designs. Not
only did he work thus late into the night, but also rose early in the
morning to begin the labour of a new day. A lady named Mrs.
McQueen, the mother of two well-known copper-plate printers,
remembered her father going frequently to Bartolozzi's house
at Fulham as early as six o'clock in the morning, to prove his
plates under the artist's personal superintendence.

Of the few personal anecdotes recorded about Bartolozzi, nearly
all of them reveal two pleasant characteristics of the great
engraver, his admirable modesty about his own work and his gene-
rous and enthusiastic appreciation of other masters. They are
both rare qualities to the artistic temperament, which, generally, is
essentially egotistic. As a rule, an artist feels so much his own
individuality, and is— to a certain extent he should be — so confident
that his own method of expression is the right and perfect
one, that he is more prone to criticise than to admire
the work of his competitors. But Bartolozzi had an Italian
geniality and enthusiasm of soul. He loved to enlarge to his
visitors upon the merits of other artists, and, turning a deaf ear to
their praise of his own work, would point out the beauties of
various prints hanging upon his walls, produced by other hands.
His rooms, of course, contained many of his own plates, and his
walls, we are told, were decorated with many proofs of musical
tickets designed by Cipriani, including the "Clytie," the "Silence,"
and his etchings after Guercino. There was also a proof of his
rendering of the figures in Zuccarelli's picture : " The Italian Ball

A Biographical Sketch

and Wedding," the landscape in which had been engraved by the
French engraver, Vivares ; but when a friend expressed his ad-
miration for these achievements by Bartolozzi, he shrugged his
shoulders and protested that they were inferior productions merely
put up to cover the walls, and then immediately pointed out the
charm of Vivares' style, exclaiming ardently : " Vivares ! Ah, he is
the finest landscape engraver in the world ; his needle points upon
the copper so light, so full of taste, so airy ; his skies are in motion !
I esteemed it an honour to engrave the figures in his landscapes,
for then I was sure to live for ever." There spoke a generous soul,
eager to extol others, while ignoring his own skill and spirit. There
were many others besides Vivares for whom Bartolozzi had warm
words of praise. Thomas Burke, the Irish Engraver, who had
studied the art of stippling from Ryland, and who, even better than
Ryland, reproduced the pictures of Angelica Kauffman with a soft,
rich, and illuminating tone which is a joy to all who understand
the qualities of a good print, was ever special favourite with
Bartolozzi, who recognised in Burke qualities of technique, of
which he himself was a master.

Hogarth was another man for whom he had a deep reverence.
He was profoundly impressed by the wonderful character and
realism which Hogarth put into all his studies of contemporary life ;
and this was remarkable, because there was nothing in common
between Hogarth's intensely modern spirit, and Bartolozzi's love
and reverence for the classical ideals of the Renaissance. Hogarth
was not untouched by those ideals, and there are in many of
the subordinate details of his pictures, evidences of Renaissance
design. But he was not successful in this way, being strictly a
humourist and caricaturist. Yet Bartolozzi would not acknowledge
any defect in the genius of this great artist. " Hogarth," he says
once, " knows everything ; he is a designer and painter ; his prints
are a theatre of human life, and if he had been born in Italy he
would have been a great Italian." By his curt words he probably
meant that if Hogarth had studied in the Italian schools, and been
inspired with the traditions of the great masters, he would have
been one of the world's most glorious artists, with a trained sense

xxvii.

Francesco Bartolozzi, R A.

of beauty to complete his genius for realism and the characteristics
of human nature.

In the course of Bartolozzi's life in England, two thousand or
more plates were produced, bearing his name as their engraver.
In spite of his splendid industry it is not to be claimed that this
prodigious number of plates was the work of one man's hand.
It must not be forgotten that Bartolozzi was the head of a great
school of stipple engraving, and it is almost certain that many of
his prints to which he put his signature contained but little of the
master's own engraving. When success came to him, and his
fame was secure, when also his genius had made the stipple style
of engraving the most fashionable form of reproduction, so that
the demand for such prints was enormous, and other methods of
engraving were not accepted as formerly by collectors and amateurs,
quite a large number of distinguished young men came to Bartolozzi
to learn the secrets of his style, and paid high premiums for the
privilege of being his pupils, and whose work in association with
the great master of the art contributed not a little to further in-
crease his own reputation. But, as Mr. Alfred Whitman says in
his delightful " Print Collector's Hand Book," which has been
previously quoted here, " we must remember that it redounds
to Bartolozzi's genius and ability that he was able to train and
produce such distinguished pupils. The output ascribed to
Bartolozzi was therefore that of an atelier rather than the work
of a single craftsman."

Among the most eminent of the master's disciples were such
men as Tomkins, Cheesman, Ogborne, John Jones, Richard Earlour,
J. Raphael Smith, William Dickinson, Thomas Watson, William
Ward, Charles Turner, Schiavonetti, Thomas Ryder, Charles Knight,
and Charles Wilkin. Some of these men were not actually in
Bartolozzi's work-shop, though they were directly influenced by his
style and technique. Others however, and not the least eminent,
were actually his pupils, working for a time under his direction, and
preparing some part at least of the plates to which he put his
name.

Luigi Schiavonetti for instance, came from Italy in 1790, and
was at once associated with Bartolozzi. He made certain

xxviii.

A Biographical Sketch

improvements in the technicalities of the process, and helped
Bartolozzi to supply the demand for those fancy, allegorical
subjects, on small plates, which were then a craze, and a very
charming and cultured craze, in all classes of society. Afterwards
he launched out on his own account, and there is no need to remind
print collectors of his delightful reproductions of Wheatley's
" Street Cries of London." Among the other famous plates are
"The Mask" (from the picture of the Marlborough family) after
Sir Joshua Reynolds, the portrait of Lady Cawdor, after H. Edridge,
and " The Hon. Anne Damer," after Cosway, and his celebrated
engraving after Stothard, of " The Canterbury Pilgrims."

According to present-day connoisseurs, Bartolozzi's best pupil
was Petro William Tomkins, the son of a landscape painter,
William Tomkins. He acquired something of Bartolozzi's best
qualities, and something also of his spirit. He was particularly
fond of children's subjects, and had a pretty fancy also in allegory,
while as a portrait engraver he is not easily to be surpassed. He
collaborated with Bartolozzi in the magnificent edition of
Thomson's " Seasons," after William Hamilton's designs. After
leaving Bartolozzi he became historical engraver to Queen
Charlotte, and drawing master to the Princesses. He also set up
a print-shop, at 97 Bond Street, from which he produced many
beautiful works. Among his most familiar and exquisite prints
was the stipple engraving of Mrs. Siddons' portrait, by John
Downman ; and his " Morning " and " Evening," after Hamilton.

Thomas Cheesman was, as we have said, a pupil of Bartolozzi,
and his engravings of religious and mythological subjects from the
Italian masters were very full of his master's influence. Among his
best portrait engraving, everyone will recollect his rendering of
Romney's beautiful portrait of Lady Hamilton as " The Spinster,"
that charming figure of this beautiful woman, in white, sitting at
the spinning wheel. Another famous plate of his is the engraving
" Lord Grantham and his Brothers," after the picture by Reynolds.

John Ogborne, Bartolozzi's other pupil, is now a favourite
engraver among collectors. He, like Cheesman, reproduced some
of Romney's portraits, his " Mrs. Jordan, as a Country Girl" being
especially prized. Many of the best eighteenth century portraits

xxix.

Francesco Bartolozzi, R.A.

were engraved by this man, and they were all admirable in
expression and " sensibility," as it used to be called in those days.

John Raphael Smith, though he worked in all styles of
engraving and was a master of them all, being a man of acute
artistic taste, and a fine and delicate temperament, was strongly
influenced by Bartolozzi. His reproductions of Morland's figure
pictures " Delia in Town " and " Delia in the Country," " The Fair
Penitent," " Domestic Happiness," etc., are to be found now on
the walls of many old houses, having been handed down through
the family since they first adorned the walls in the days of our
great-grandmothers.

Thomas Burke, for whom Bartolozzi formed such high admira-
tion, was at first a mezzotint engraver, but the new fashion,
popularised by the Italian, soon mastered him, and his stipple plates
are all that Bartolozzi said of them, in richness of tone, delicacy
of touch, and beauty of expression. After the death of Ryland,
who had been her devotee, Angelica Kauffman preferred Burke
before all others to reproduce her works, and in this she showed
the best judgment, for truly his stipple engravings after her
pictures are as charming and graceful as anything produced in
that century of art.

Charles Knight, another pupil of Bartolozzi, has many good
qualities, and worked very closely with his master. It is generally
believed that he did most of the work upon the famous portrait of
Miss Farren with her muff, after Thomas Lawrence, although
Bartolozzi's name appears upon the finished state of the portrait.
But Knight was more than the "ghost" of Bartolozzi. He
achieved an honourable reputation as an engraver upon his own
account, and such men as Reynolds, Lawrence, Hoppner, and
Wheatley owed much to him for his conscientious and expressive
reproductions of their pictures.

The list might be extended considerably of those who worked
under Bartolozzi's direction, or were directly inspired by his
method and genius. But enough has been said to show that
Bartolozzi was the head of a great school of stipple engraving
which practically carried for a time all other schools of engraving
before it by its surging tide of popularity. There are some people

A Biographical Sketch

perhaps who may fail to acknowledge the credit due to Bartolozzi
himself for this immense amount of beautiful work produced in
the stippling style, yet, without taking away any of the individual
merit of these distinguished engravers, each of whom had well
defined characteristics and qualities, too much homage can hardly
be paid to the man who inspired, and to some extent trained, this
great number of brilliant craftsmen whose works constitute not the
least glory of the eighteenth century.

By the mysterious separation between Bartolozzi and his wife
he was deprived of one pupil who should have followed most
closely in his footsteps and increased the illustrious reputation of
his name, — his son, Gaetano, whom he had left as a child in Venice.
We can imagine how the warm-hearted and enthusiastic Italian
would have rejoiced in expounding the principles of his art to the
youth as he grew in intelligence, how the father would have
watched with eagerness the development of his artistic taste, and
trained him in the traditions which he, the elder Bartolozzi, had
received from the great masters of Italy, and how he would have
taught this son to wield the graver with the same ease and grace
so that he might have given an additional glory to the school of
stipple engraving, productive already of so much splendid talent.
But that was one of the joys denied to the master, by circumstances
of which we have no explanation, until the child had grown into
young manhood, beyond the age when his character and taste
could be easily moulded by a father's influence. But after many
years Gaetano did rejoin his father, and showed that by inheritance,
if not by training, he had all the qualities that might have made
him a great engraver. But the passion for another art was more
dominant in his soul. As he grew up in Italy, having forgotten, we
may imagine, all but the existence of the being who had given him
birth, though the fame of the elder Bartolozzi had spread through
Europe, and must have been known to that mother, who, for some
reason, refused to share its glamour in England, the boy had
developed a genius for music. He took to the fiddle instead of to
the graver, and upon what was then called the " tenor violin," found
a medium for those emotions of art and beauty which in two
earlier generations had been expressed in light and shade. As to

jocxj.

Francesco Bartolozzi, R A.

all the details of his life we are again baffled by silence. We do
not know who was Gaetano's master, or what professional success
he obtained as a musician. But his character was thoroughly in
accordance with what is known as the artistic temperament. He
was erratic in his moods, easily swayed by the passion of the
moment, devoted to his instrument and art, but unstable and
wayward, and like other Italians of his type, charming
and humble, but not industrious, self-reliant, or estimable.
Having lived abroad until he reached manhood he seems to have
fallen for a time upon evil days, or at least been pressed for an
immediate need of funds. The idea came to him, or perhaps was
suggested by others, that he should cross over to England, where,
by good luck, he had a father earning noble sums of money, and
living splendidly in the art-world of London, amidst the homage of
his brother artists, and with the patronage of great personages.
Possibly among his young ambitious and Bohemian friends the
splendour of the elder Bartolozzi was exaggerated by romantic
renown. Doubtless to Gaetano, after the idea of rejoining his
father had taken hold of his mind, it may well have seemed a
prudent and natural thing to make acquaintance with such a great
man, who, by all the unwritten laws of paternity, was bound to
provide him with some of his good fortune.

So it was that one day Francesco Bartolozzi, sitting over his
plates at North End, Fulham, found himself face to face with one
of his forgotten masterpieces, this handsome young man who called
him father, and whom he had not seen, since, as a child, this son of
his had been held to his wife's breast, as weeping, surely weeping,
whatever the quarrel between husband and wife, she had said fare-
well, for ever. This meeting between father and son must not
have been without emotion, at least on one side. The elder
Bartolozzi may have seen his own youth again in the face of that
young man, and remembered how many years had passed by,
turning him to a grizzled man, since, with a brave heart, he had gone
courting the beautiful Lucia Ferro, very daring in his aspiration
towards the daughter of a proud family. Being as we know an
emotional Italian, with a big, generous heart, he may in that
moment of meeting, have been filled with a great remorse for that

xxxii.

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A Biographical Sketch

long separation from his wife and family, a great and surging regret
for that long loneliness which had been his fate, in spite of many
who called themselves his friends.

And the young man, how did he meet his father, whose very
face was unknown to him ? Perhaps with first a swift look of
surprise at this snuffy old man, with hands stained by his etching
acid, and with shoulders rounded by long hours and stooping over
his plates : a swift glance followed by graceful and easy words,
expressing respect, and hoping that he might share the labours and
the home of his new-found father.

All this of course is guess work, yet some such scene must
have taken place. We know for certain that Gaetano did take up
his dwelling for a time with the elder Bartolozzi, and it is certain
that he became one of his father's pupils. Possessing a natural
talent for art — it was in his blood — he studied his father's methods
of engraving, and if his diligence had been equal to his ability, he
might have achieved success. Even if he had done the " hack-
work," as it were, of engraving the plates, having his father to put
in the delicate effects of shading, and so give that magic touch of
his which transformed the work of all his pupils, the young man
would have earned more than board wages, for the demand for this
style of print was in excess of all possible supply. But Gaetano
had no staying power. Though the few plates of his that have
been recognised reveal considerable talent, he did not really
establish himself as an engraver. The elder Bartolozzi now
started him on a business career, which gave him a chance of
making a fine fortune. He established him as a print-publisher
in premises at Great Titchfield Street, under the style of
F. Bartolozzi & Co., and Gaetano produced from this place many
of his father's engravings. It has already been mentioned how
Alderman Boydell founded a magnificent business which still exists
under the name of Graves & Co. There was no reason why
Gaetano Bartolozzi should not have obtained an equal prosperity.
He not only had the " first call " upon his father's work, for which
there was a steadily increasing demand, but he had, at once, a
unique connection with the other eminent engravers of the day,
many of whom had been his father's pupils, and all of whom had

xxxiii,

Francesco Bartolozzi, R.A.

the greatest reverence for the name of Bartolozzi. But both
father and son lacked the qualities which go to make artistic
success. It has already been mentioned that the elder Bartolozzi
was often financially embarrassed in spite of his success, and his
money, like that of the proverbial school-boy, burnt holes in his
pocket. Gaetano inherited the same failing. Instead of attending
strictly to his shop he was too much charmed with the society in
which he found himself in London owing to his father's position.
Gay hours with congenial companions, the encouragement to waste
his time fiddling in drawing-rooms, where his musical talent
brought him praise and flattery, naturally proved more to his taste
than the time spent in his little publishing house at Great Titchfield
Street. Then in May, 1795, he married a young lady with whom
for a time he seemed perfectly matched in temperament. This was
a Miss Jansen, the daughter of a well known dancing master at
Aix-la-Chappelle. Like Bartolozzi, she was devoted to music,
being a talented pupil of Clementia, the brilliant pianist, whose
famous " exercises " have trained many other great pianists, and
by the hands of amateurs tortured many poor souls. The marriage,
however, was not altogether successful. One artistic temperament
is generally enough in one household, and sometimes too much.
Gaetano Bartolozzi was not induced by his new responsibilities to
pay more attention to business, and owing to his ill-success, his wife
had to give music lessons partly to support the little household.

But Gaetano deserves more credit as a father than as an
engraver, and he made the next generation his debtors by presenting
them with two very beautiful women, one of whom delighted
thousands of people by her grace. His daughter Lucy married
Armand Vestris, the grandson of the famous dancer, who at Paris
was called "La Dieu de la Danse." It was this daughter who
became the celebrated Madame Vestris, and who afterwards, as
the wife of Charles Matthews, the younger, appeared at the
King's Theatre, Haymarket, and at the Theatre Royal, Drury
Lane, and was admittedly one of the most talented actresses
and opera-singers of the early nineteenth century. The second
daughter, Josephine, became the wife of a public singer named
Anderson, and was noted as one of the loveliest women of her day.

A Biographical Sketch

The mother of these two graces, the younger Bartolozzi's wife,
was not so celebrated for beauty, though it is probable that in her
young maiden days she was very charming. After her husband's
death she returned to Calais, like poor Lady Hamilton, " Nelson's
Emma," and passed the remaining years of her life there.
According to a caricature of her at that time by a sister of George
Cook the engraver, she was a fast woman who dressed in a loud
and extravagant style. She is said to have been a very vain
woman, who adopted artificial aids to beauty, and was inordinately
proud of her small feet.

To return to the career of Gaetano, it must be recorded
that his lack of business instincts led to an inevitable result. In
1797 he failed altogether, and his stock of plates, prints, and
drawings was sold up at Christie's. In Tuer's book on Bartolozzi,
the catalogue of this sale is reprinted as follows :

"A Catalogue of the genuine and entire stock of capital and
valuable Prints, Drawings and Copperplates (some of which have
never been published), and a few pleasing Cabinet Pictures, the
property of Mr. G. (Gaetano Stephen, Francesco Bartolozzi's son)
Bartolozzi (retiring from business), comprising an extensive
assemblage of Prints of the first impressions ; drawings by
Cipriani and Bartolozzi ; and amongst the plates the celebrated
one by N. Poussin, in the possession of the Marquis of Lansdowne ;
a ditto, after the "Four Elements" of Albano ; and a capital
engraving in strokes, after the celebrated picture of the " Madonna
del Sacco," of A. del Sarto, at Florence, by Bartolozzi, lately
finished, and it may truly be deemed the finest plate ever executed
by that artist. Which will be sold by auction by Mr. Christie, at
his great room in Pall Mall, on Friday, June 23rd, 1797, at
12 o'clock."

Tuer gives an interesting record of the prices obtained for
some of these works. " At the sale," he says, " a great number
of minor undescribed subjects by Bartolozzi were disposed of in
lots from a couple to three dozen prints in each, and so far as can
be judged realised good prices: some drawings, academy pictures
by Cipriani and Bartolozzi, about a couple of shillings each ; and
the original drawing of " Acis and Galatea," by Bartolozzi, brought

Francesco Bartolozzi, R.A,

ten guineas. A set of four — "The Elements" — after Albano, by
F. Bartolozzi, brought seven guineas, an extraordinary high price,
considering the times. Some copperplates by Francesco Bartolozzi,
with the stock of engravings, coloured and plain, proofs and prints,
realised in some cases remarkable prices, and from them may be
gathered an idea of the relative estimation in which his works
were held. A pair of copperplates, "Love" and "Innocence,"
corrected by Bartolozzi (the engraver's name is not given), with
fifty-four plain impressions, and fourteen printed in colours, only
brought £3 3s. A copperplate of " Princess Charlotte in the
Cradle," after Cosway, with thirty-eight proofs, three etchings,
thirty-four impressions, and twelve coloured ditto, brought
£13 9s. 6d. The plate of an unfinished head, representing
"Honour," after Cipriani, brought £3 8s. "The Holy Family,"
after the original picture by N. Poussin, in the collection of the
Marquis of Lansdowne, with four etchings, ninety-three proofs
(some with variations), forty-eight impressions, and one proof in
colours — the only one taken off this plate, brought £130. The
celebrated " Madonna del Sacco," of A. del Sarto, ornamented
with a portrait of the painter, with a drawing by Fide, of Florence,
and the finished proof, brought £350. The " Elements," after
Albano (four plates), with one hundred and fifteen complete sets
of etchings, twenty-eight odd ones, thirty-nine in colours, and the
original drawings by F. Bartolozzi, highly finished in crayon and
chalk, realised the extraordinarily high sum of £350."

The account of this sale will read like a dream to modern print
collectors who know the present prices obtained for Bartolozzi
prints !

Gaetano, after this sale, which ended his business as a print
publisher and engraver, went to Paris, where he opened an academy
of music and fencing, which was moderately successful. So he
passed the remainder of his days.

In spite of the anxiety caused by his son's instability of
character, Bartolozzi must have felt his departure keenly. The
family of Gaetano, must have brought some sunshine and sweetness
into a life rather lonely in its devotion to art. That he was not
insusceptible to the tenderness of domesticity, and that his heart

xxxvi.

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A Biographical Sketch

was capable of a most gentle affection, is shown by a letter he
wrote to his " beloved Signor Colnaghi," from North End, Fulham,
in which he recommends to his care his " dear little girl " (probably
one of his grand-daughters), whose departure, he says, causes him
great grief, and from which he will probably suffer in his health, as
he feels pain already at the thought of it. The letter is full of the
most earnest solicitude for the welfare of this child ; and the great
artist expresses as many wishes for her comfort, health and safety,
as any mother for her first-born babe.

" I pray you too, as earnestly as I know how," he writes, " to
recommend her to the care of your friend Signor Gasperini, and to
that of his good wife, so that they may guard her in every possible
way, and give her up safe and sound to the arms of her parents,
otherwise I should have the keenest heart-ache I ever endured."
He is anxious that they shall give the little one no meat for supper,
and as little butter as possible. He particularly trusts that they
will keep sharp eyes upon her, for she is so lively that she might
escape and be run over by carriages and Sedan chairs. " She must
not go near a door, a thing which children are very fond of doing.
Let them be careful not to allow her to sleep in damp beds. But
I pray them besides, to keep her with that strictness to which she
has always been accustomed — that is, not to allow all her little
caprices, and to make her obey ; also to keep her in practice in
French and in a little Italian, I know it is difficult to make her read
on a journey, but in some intervals of travel it would give me great
pleasure that she should not forget the little Italian that she has
learnt ; and they will find that the child is good, but she must not
be left to her own will."

So he goes prattling on for all the world like an anxious parent.
He reiterates the instruction that the child must have no meat in
the evening, but be satisfied with good bread for supper. And he
hopes they will not forget to make her say her prayers morning and
evening, as she has been accustomed. To his friend, he suddenly
brings himself to a halt, with an apology. " I think I hear you say,
' Oh, what a fool ! ' But you are a father, and know what love for
children is." It is one of the few letters of Bartolozzi's that have
been preserved, and it reveals the kindliness of the engraver's

xxxvii.

Francesco Bartolozzi, R.A-

nature, and his love for the little one. It deepens the mystery also
concerning his married life, for this is not the letter of a selfish,
ambitious man, who would have deserted wife and children for the
sake of founding a fortune in a foreign land. At the time it was
written however, he was an old man, and perhaps towards the end
of his life he felt that need of loving and being loved which is not
so essential to all men's happiness when they are in the strife and
clash of existence. There are so few anecdotes recorded by his
contemporaries that it is impossible to form an all-round estimate of
Bartolozzi's character. One of the few goes to show that, in spite
of the generous way in which he praised his fellow-craftsmen,
he had at times a hasty temper which led him to violence of
expression. It is related in his reminiscences of Henry Angelo,
that the engraver named Gresse, worked in his youth for old Mr.
Boydell, and that Bartolozzi improved his productions with his
invincible hand. " This is likely enough, for that most ingenious
and liberal engraver gave up half his time at least in rendering those
important services to his friends. Bartolozzi had a great esteem
for Gresse, who had been a favourite pupil of his estimable
colleague, Cipriani. Indeed he lived with this painter for many
years, and was a very close imitator of his style. Gresse had
studied under other masters ; so many indeed that Bartolozzi, who
was doing some professional service for a friend of Gresse's,
unfortunately differed with the engraver, who, Italian like, was
hasty, and Gresse harping on the word "style," he exclaimed
"Cot-dam, Mister Gresse, hold your tongue; you have copy so
many masters you have not left no styles at all."

Bartolozzi suffered perhaps the greatest loss in his life by the
death of his bosom friend, his fellow-pupil in the old days at
Florence, and his continual collaborator in England, Giovanni
Battista Cipriani. He died at Hammersmith on the 14th of
December, 1785. Between those two men there had been the
closest intimacy for many years, and the harmony of their ideas
had produced one of the most perfectly successful partnerships in
the history of art. Bartolozzi owed much to Cipriani. Cipriani
owed much to Bartolozzi. It is difficult to say exactly where was
the dividing line between design and execution. Their names will

A Biographical Sketch

be linked together as long as they are remembered, and as long as
the prints bearing those two names are treasured by all who
reverence the beauty of eighteenth century engravings. One little
anecdote may be quoted, quite trivial in itself, yet interesting and
amusing, because it shows these two men in a natural way, when
they were both in the hey-day of their success.

In the house occupied by Bartolozzi at North End, there was,
we are told, a window of ground glass. " Stand still, Chip," said
the engraver, as Cipriani was one day passing on the other side,
and I will draw your portrait." The profile was drawn on the
window pane, and then the other artist came into the room.
" What, my portrait ! " he cried, " you have given me the air of a
voluptuary," and he dashed his hand through the pane. But, as it
happened, the face on the glass was not destroyed, and, according
to Tuer, who tells the anecdote, it was afterwards the copy for
an engraving of Cipriani's portrait.

Doubtless the death of this good friend, and the departure from
England of Gaetano and his family, had a depressing effect upon
Bartolozzi's spirits. Loneliness closed in upon him, as old age
crept closer also. Then, too, it is probable that his income was
not so large as before. For a time he had been almost a monopolist
in the art of stipple engraving, but he had trained a school of
brilliant men who were now his rivals and competitors. Doubtless
also his hand was not so quick, his enthusiasm not so keen, his
industry not so great. Generous to all friends, ready to give his
work to those whom he wished to favour or who asked a favour,
careless of money, perhaps in spite of his great success a little
sore that he had not received greater official recognition, perhaps
also, with the pessimism of old age, believing at times that he had
wasted his great talents in producing what, after all, was not
great, original work, such as the masters of Italy had painted, he
grew restless and discontented. The opportunity for plunging into
a new sphere of activity, and of obtaining in his last years new
laurels of renown, came to tempt him from England, after a
residence here of thirty-eight years, and when he was seventy-five
years old. It was an invitation, thrice repeated, from the Prince
Regent of Portugal, to found a school of engraving at Lisbon.

Francesco Bartolozzi, R.A.

The promise was held out to him that he should receive a hand-
some pension and the honour of knighthood. It was flattering to
Bartolozzi's pride, and though naturally a modest man, he had
the pride of an artist who expects, and is entitled to, recognition.
After some hesitation, and probably against the advice of those
many friends who loved and admired this master, and feared for
his health as much as they lamented the prospect of his loss,
he left England on November 2nd, 1802, never to return to the
country of his adoption, the home of his long labours, and the
nation whose artistic taste he had done so much to educate.

His first words from Lisbon were of good cheer. "In this
country," he wrote, " to which destiny in the evening of my mortal
course has sent me, I have experienced from every one the most
flattering reception. The cordiality and affability with which I
have been treated by their distinguished noblemen have surpassed
my most sanguine expectation. It is the more flattering to me, as
for a series of years I have not been accustomed to such kindly
behaviour from those I have looked up to as my patrons. I have
had the honour of dining with some of the first personages at this
place, and to-morrow I am invited, and shall be introduced to the
Prime Minister. I am most perfectly contented, and hope to God
I shall be able to show by my exertions, old as I am, my gratitude
for the celebrity with which all my friends are pleased to distin-
guish me."

It is the letter of an old man, touched in his emotion by the pride
of recognition for a life of labour in the cause of art. As an Italian
he liked the outward show of homage, that warm and graceful
compliment, which comes so readily from the Latin people, and which
certainly adds to the warmth and sunshine of life. They made him
a knight, and his title was not scorned by the artist though
posterity has forgotten it. And though his Government salary as
the head of the Lisbon School of Engraving was not more mag-
nificent than £160, or so, a year, he could live on it in fair comfort.
An English friend meeting him in Lisbon, expressed astonishment
that he, who could make a thousand a year in England, should be
content with such a beggarly wage in Portugal.

SUMMER.

A Biographical Sketch

" Ha, ha ! " said the old man gaily, " In England I was always
in debt for the honours showered on my talents, and I was quite
tired of work. Here I go to Court, see the King, have many
friends, and on my salary can keep my home and drink my wine.
In London it would not allow me a jackass and a pot of porter."
There is some truth in this comparison even now, for a man may
"live like a lord" in many places on the Continent, having the
respect of all who meet him, and many of the little luxuries of a
life, whereas, on the same income in England he would have to live
in a small street in a London suburb, with one servant to do his
cooking badly, and no one in his neighbourhood, perhaps, to take
the slightest interest in his individuality.

It is said that in Lisbon Bartolozzi astounded his pupils, and
Portugese artists generally, by his amazing industry, by his still
perfect skill with the graver, and by the celerity of his work. But
this activity could not, in the nature of things, last long. As he
approached his eightieth year, his hand did at last lose something
of its cunning ; his brain began to yield a little, and his memory
to fail. An English friend called upon him at Lisbon in March,
of 1814, and gives rather a pathetic account of him. He was still
at work, bending over a large plate of the Duke of Wellington's
head. But he was very feeble, physically, and so infirm, indeed,
that he could hardly totter across the room. His mind, too,
wandered during the conversation, and he could remember nothing
whatever of important correspondence of recent date, which had
previously reached him. He was then eighty-six years of age, and
it was a gallant thing that the old man should still have been
working at all. In a letter he wrote at this time there are some
pathetic expressions of loneliness, of poverty, of feelings that he
was neglected and forgotten. He talks about the infirmities of his
advanced age which keep him from going out. " My legs being
so feeble," he writes, " and the streets so bad, that I run the risk
of falling any moment." He thanks a pupil of his (J. Minasi) for
a letter which affords him great consolation, as it shows his cor-
respondent keeps in remembrance " a poor old man already
forgotten in the world, though you know that I have done a great
deal, and that my humble performances have been borne with.

xli.

Francesco Bartolozzi, R.A.

Now they are despised, but so it happens when one reaches the
age of eighty-six years. Yet God gives me His grace to be able to
continue to do something."

He longs to get back to England, that good country where he
worked so long, and laments that he has been prevented by his
indifferent state of health, and want of strength. With a pessimism
that was pardonable in the old master at his great age, he avers
that he could have no expectation of obtaining employment there,
especially as there were so many eminent men of his profession.
It was perfectly true, of course. His day was done, and the
younger men, whom he had trained, had come forward to take his
place. Pitifully he goes on in this spirit of complaint and regret.
" Some of the dealers, you well know, have made fortunes by my
poor works — now there is no fortune to be made. Since, however,
Divine Providence has wrought so great a miracle as to send us
peace, let us hope that things will change in this respect also."

He goes on to say how his son had been in hopes that if he
(the father) returned to England, the Prince Regent would do
something for him. But he does not trust to much hope.

" I would nevertheless have sacrificed everything, with pleasure,
to revisit that country, to which I owe such a debt of gratitude for
the benefits that I have received from it, that will never be erased
from my memory, and which I shall ever humbly pray to the
Almighty to prosper as it deserves."

Then, querulously, as old men will, he expressed his
dissatisfaction again with his present condition.

"Here at present," he writes, "we are destitute of every
requisite in our profession ; gravers, varnish, tracing paper, and
black for printing, are all very dear and very bad. I have engraved
one of the views of Lisbon ; the copper furnished me resembled
lead ; so that with a bad drawing and worse copper, I have made a
wretched thing of it. Thus is an artist sacrificed ! "

Too much has been made of this letter. Biographers, anxious to
" make out a case," have heaped their indignation upon the
ingratitude of England for thus leaving to die " in abject penury,"
a great genuis who had done more than any other man of his period
to educate the English in art, and give a great tradition and

xlii.

A Biographical Sketch

example to the school of engraving, and they have been equally
wroth with " the treachery " of the Portugese in enticing this
master to their shores and then leaving him to perish in want.
But the truth is that such language is merely fantastic and absurd,
biographers having taken a serious view of expressions used
by an old man in his dotage. It is certain that Bartolozzi
received until his death a Government pension, and it is probable
that he added to his income by the sale of his prints. It is of
course remarkable that a man of such genius, who had produced an
enormous number of popular prints, should not have died worth a
fortune. As he truly remarked, the fortune was made by his
print-sellers, but that was due in no small degree to the artist's
own carelessness and ignorance of business. Unfortunately the
artistic temperament is always at the mercy of men of commerce,
and it often happens now, as formerly, that the man who creates,
gets but a poor share of the value of his work. Bartolozzi, in this,
was as unfortunate as other artists and men of letters. But at
least we need not have the discomfort of believing that so great a
man died in actual want, or without those little luxuries which do
much to sweeten the last days of an old man's life. He died at his
house in the Travessa de Sunta Quiteria, Lisbon, on the 9th of
March, 1815, aged 88 years, and was buried in the Chapel of
Santa Isabel of that City.

It must be admitted that the biographer of Bartolozzi has not
a store of material from which to draw the thread of an interesting
narrative, a few bold facts, the skeleton as it were, of his life's
history, are known, three or four light anecdotes, a few character-
istic traits — and that is all. It is strange indeed that a man who
took such a leading position in the most popular art of the day,
who had what was practically an atelier and school of art, who was
the master of so many brilliant engravers, and the inspiration of
many others, should have been left without a Boswell to describe
his career and perpetuate his memory in reminiscences. The
newspapers of the day frequently mention his name but do not
enlighten one much as to the details of his career and private life.
Thus, in The Morning Post of Saturday, June 18th, 1785, the
following paragraph appears :

xliii.

Francesco Bartolozzi, R.A.

" Mr. Bartolozzi gives the public notice to all gentlemen,
artists, and others, to take care not to be imposed upon by a
Foreign Woman as being an object of charity recommended by the
said Bartolozzi, she having been already to the Royal Academy for
the list of all the Academicians to impose on their humane disposi-
tion under the said false recommendation, (signed, F. Bartolozzi)."

In The Morning Post also of Monday, September 26th, 1785, we
find the following item :

" Bartolozzi has made considerable progress in his print of
" The death of Chatham." The drawing was made by Cipriani,
junior, and it is said to possess all the spirit of the original, in the
exhibition of which Copley cleared £5,000."

In The Morning Herald of Wednesday, February 7th, 1787, we
find the following :

" Bartolozzi is engaged to engrave the Duke of Norfolk's
portrait by Gainsborough. He charges five hundred guineas for
the plate."

In The Oracle for Saturday, July 14th, 1792, a paragraph alludes
to an illness of the engraver :

" Bartolozzi, every lover of the Arts will rejoice to hear, is
amending from a severe indisposition."

Again in The Oracle of Thursday, February 21st, 1793, there is
the following reference :

" What a grateful triumph it must afford to such a man as
Bartolozzi to see some of his works increase in price 1,000 per
cent. . . . Fine first proofs of his "Death of Chatham" are now
rarely to be had . . . they cost thirty guineas."

Bartolozzi's acceptance of the invitation to take up his
residence at Lisbon, and his subsequent departure are thus
noticed :

" Mr. Bartolozzi is invited by the Court of Portugal to reside
at Lisbon on a pension, which the Queen has offered him." —
Morning Post, Mon., Feb. 22, 1802.

" Bartolozzi intends to make Portugal the seat of his future
residence. His last chef-d'oeuvre was a portrait of Bonaparte." —
Morning Post, Wed., Sep. 1, 1802.

xliv.

A Biographical Sketch

" Mr. Bartolozzi leaves this country for Lisbon in a few weeks :
this great man, in the graphic department, has not only amended
the national taste, but has been the cause of adding to our revenue
at least a million sterling. He is now nearly four score years old,
and is invited by the Prince of Brazil to end his days in the
Portugese capital on a pension." — Morning Post, Mon., Oct. 25, 1802.

Such newspaper paragraphs as this are not very satisfying to
the Bartolozzi enthusiast eager for every scrap of fact relating
to his life, but they show that the engraver was a man of consider-
able importance in public estimation, and that the newspapers,
those barometers of public opinion, could not afford to ignore his
presence in this country.

Nevertheless, Bartolozzi's personal life and character are
rather shadowy and obscured, and he lives now only in his work,
those prints which are so eagerly sought after by collectors, at prices
which would stagger the engraver himself, if his ghost appeared
at Christie's.

One must, of course, restrain his admiration of these engravings
to avoid overestimating the genius of Bartolozzi. He had not
the great, original power, and the profound imagination, of such a
man as Diirer. His engravings from Cipriani's designs, and from
his own designs, in a similar style, delightful as they are, have
qualities of grace and tenderness rather than strength and vitality.
He was, indeed, well called " The Engraver of the Graces." On
the other hand, it would be most unfair to think that his genius
was limited by his classical prettiness which so appealed to the
hearts of maiden ladies with a love of fat little cherubs and beauti-
ful creatures of luscious charms. In his renderings of the works
of Italian masters like Guercino and Carracci, he had a boldness of
stroke, and a perfect sympathy with the spirit of the originals,
which show him to have been unfettered by any convinced
mannerism. His portrait work, too, was extraordinarily expressive
and sensitive. Again, his technique was not a mere mechanical
dexterity or a series of brilliant tricks. His graver was always
natural in its play, and his effects were obtained by a lightness of
touch, a perfect discrimination in the handling of detail, a splendid
skill of craftsmanship, and an intuitive sense of colour values

xlv.

Francesco Bartolozzi, R.A.

expressed in black and white. He was always more than a mere
copyist. Often he would not only reproduce the original, but improve
upon it. Thus, when in a painting various details were suggested
vaguely and indiscriminately, he would develope them for the
purpose of the engraving, where this vagueness would be weak and
unimpressive, with his most brilliant finish and originality. When
reproducing the work of third-rate painters to the order of his
publishers and printers he would invariably correct faulty drawing,
and give a new meaning to the design. Even in his treatment of
works after the first painters of the day he allowed himself liberties
which were quite justified by success. Sir Joshua Reynolds, for
instance, showing a print by Bartolozzi from one of his portraits,
once said: "The hands in my picture were very slight, and now they
are beautifully drawn and finished, Mr. Bartolozzi having made
them what they really ought to be ; we are all much indebted to
him."

It was only from men swollen by their own conceit, or from
critics eager to dig their talons into any reputation, that Bartolozzi
was blamed for this method of altering or developing an original
design. The majority of his contemporary artists recognised his
superior genius, and his claim to originality. Robert Meadows, a
talented stipple engraver, spoke on behalf of his fellow-craftsmen,
when at a lecture at the Surrey Institution, in 1809, he said " By
what epithet shall I do justice to the genius, taste, and fancy of
that mighty master of grace, elegance, and beauty, Mr. Bartolozzi,
whose high example during his long residence in this country
contributed above all things to the improvement of British
engraving ; and whose best works, being executed amongst us,
and therefore considered as English prints, in no small degree
enhance the reputation of British art from all the rest of Europe."

After Bartolozzi's departure from England the print-sellers
could hardly satisfy public demand for his work, and his reputation
was so universally recognised that fraudulent members of the trade
were tempted to pass off imitations of his style. One trick of these
gentry was to sign spurious prints with the legend " Engraved by
Bartolozzi," to cheat unwary customers into the belief that they
were by the master of stipple engraving.

xlvi.

A Biographical Sketch

Since that time his reputation has steadily increased, and his
name stands pre-eminent among the stipple engravers of the
eighteenth century, for although each of the many brilliant men
who formed such a school of engraving in England as never existed
in this country before or since, had special qualities which appeal
to the Connoisseur, Bartolozzi's work has a joyousness, with
exquisite delicacy, a chaste and classical beauty, a perfection of
line and light, which distinguished him above all his fellows.

One may sigh in vain for such works to-day. When one sees
the multitude of cheap books, illustrated by photographs of no
artistic value, one realises how much more beautiful and valuable
were the publications in the days of our great-grandmothers,
adorned with the designs of engravers who had such elegance and
taste. The spread of cheap literature, and the advent of the
picture postcard have not been to the advantage of national culture,
and the decadence of engraving is one of the most lamentable
things in modern art. The eighteenth century was the golden age
of the English engravers ; and though he was an Italian, it cannot
be denied that the work of Bartolozzi was one of the most
supremely important influences in the English renaissance.

xlvii.

Francesco Bartolozzi, R.A.

BIBLIOGRAPHY.

Although almost every Cyclopaedia and Handbook of general information, as
well as every Dictionary of Artists and History of Engraving treats of
Bartolozzi, surprisingly few authors have devoted monographs or even
important magazine articles to him and his art. The encyclopaedic works generally
draw upon their predecessors without troubling much to control facts or enlarge the
information they offer. Among the older works of this class it is advisable to consult
Fiorillo " Geschichte der Zeichnenden Kiinste," Vol. v., pag. 777 ; and the 2nd
edition of G. Gori Gandellini " Notizie degli Intagliatori " Siena 8vo. : 1809,
vol. vi., pp. 102 — 116. The classic, G. Nagler, " Kiinstler Lexikon " Munich : 8vo. :
1835, Vol. I. pag. 298 — 299, is rather more brief than is his custom, and the " revived
Nagler," viz. J. Meyer's " Kiinstler Lexikon" Leipzig : 8vo. : 1885, which stopped
publication after its 3rd volume, treats Bartolozzi on pp. 74 — 7 of Vol. iii., allotting
him comparatively little space. In Redgrave's " Dictionary of Artists of the
English School " London : 8vo ; 1878, pp. 30 — 31, we find a fair account, but without
any catalogue, whereas that in Portalis et Beraldi " Les Graveurs du i8me.
Siecle " Paris : 8vo. : 1880, Vol. i., pp. 98 — 106 is superficial, like almost everything
that the portentous Baron had a hand in. In Dr. Williamson's new edition of
" Bryan " London : 8vo. : 1903, Vol. i., p. 91, the account is singularly unsatisfactory,
being in fact left virtually the same as it appeared in the earlier editions of the
sixties. One may cast a glance at Spooner " Biographical History of the Fine
Arts," New York, 1865, Vol. i., p. 76, before turning to the only work of this kind
that it really pays to consult, namely the 3rd Vol. of the " Dictionary of National
Biography " London : 8vo. : 1885, where Ernest Radford writes up Bartolozzi on
PP- 337 — 339- Upon the whole it may be said that Radford's estimate rather under-
states Bartolozzi's importance ; we entertain at present perhaps a more generous
view of the style of those days than he did nearly twenty-five years ago.

I now enumerate some Magazine Articles : —

"Gentleman's Magazine." — Vol. 57, p. 876; Vol. 72, pp. 1156 and 1221 ;
Vol. 75, p. 794; Vol. 78, p. 1 1 16; Vol. 80, I., pp. 598 and 662 ; Vol. 83,
I., p. 179; Vol. 88, I., p. 377; Vol. 88, II., p. 11 (according to
Radford).

Baron R. Portalis in the " Gazette des Beaux Arts," 1889, I., pp. 38 — 39 in
a rather poor series of articles on " La gravure en couleurs."

R. Artioli. — " F. Bartolozzi e la sua opera" in " La Bibliofila" 1899, I., p. 73.

„ in " Emporium " 1889, fascicolo V.

F. Hermanin in " Rivista d' Italia " 1899, fascicolo III.

xlviti.

The Fa i

Bibliography

Hodgson and Eaton in the " Art Journal " Vol. 42, p. 109, London, 1890, in a
paper on the Original Members of the Royal Academy, with a portrait
drawing of Bartolozzi, by Dance. (Other portraits, by the way, are
enumerated in the J. Meyer " Lexikon " loc. cit).

E. Mauceri in "L'Arte" 1899, pp. 119 — 120 in a report on a Bartolozzi
exhibition held at the Print Room in Rome, with transcript of two
autograph letters shewn there.
E. Paton in " The Printseller " London : Vol. I., pp. 295 — 302.
J. Grego in " Bartolozzi's tickets for the benefit of charitable institutions " in
" The Connoisseur," London, Vol. III., pp. 245 — 249.

Melchiorre Missirini is cited as the Italian Biographer of Bartolozzi. His
works not being accessible to me at this moment, I am unable to say in which one
of them his " eulogy" of Bartolozzi appears (" Elogi di Le Uomini illustri, etc.," Forli :
4to : 1 840 ; " Degli illustri I taliani.etc," Siena : 8 vo : 1 838 ; " Del genio d' I talia dimostrato
ne suoi famosi Artisti, etc.," Firenze : 8vo : 1841 ; "Celebrita Italiane nell' Archi-
tettura e Pittura, etc.," Firenze: 8vo : 1847). The standard biography of Bartolozzi
for the majority of his admirers, however, is doubtless Andrew W. Tuer's opulent
two- volume publication of 218 and 158 pages which appeared in 1882 in London.
The only later monograph that I am able to lay hands upon is Mr. S. Brinton's
little 1 12 page volume in the Langham Series of Art Monographs, London : 8vo : 1904.

Among the earliest catalogues of Bartolozzi's prints that in Gandellini's
" Notizie " (see above) is pretty long, and arranged according to painters' names.
The sale catalogue of the Molteno collection which was dispersed 1824, in
London, is perhaps next in importance. Ch. Le Blanc, in his well-known
"Manuel," Paris: 8vo: 1854, Vol. I., pp. 163-174, catalogues 700 numbers,
Mr. Tuer in his 2nd volume over 2,000. But the latter gentleman likewise simply
gives titles, without descriptions or even dimensions. Strangely enough some of
the very plates that his book is illustrated with, are not enumerated in his list.
Possibly this is amended in a 2nd edition which I have seen quoted as having
appeared in 1885, though I have not come across the edition itself.

I cannot close without the mention of two works, although they have not yet

appeared but are only upon the eve of publication, because they promise to be the

most important of all. The new " Allgemeines Lexikon der bildenden Kiinstler,"

edited by Dr. Thieme and Dr. Becker, of Leipzig, will make it possible to dispense

with all previous encyclopaedic works, when the 2nd volume, containing Bartolozzi,

which is to be issued early in 1908, has appeared. At the end of the article a

carefully sifted bibliography will be inserted. Further, Sig. A. de Vesme, the

author of the excellent " Peintre-Graveur Italien," which supplements Bartsch,

has been for years at work upon a critical and thoroughly scientific catalogue of

all the engraved work of Bartolozzi. This book is due in the course of the year

1908, and promises to satisfy all the demands, in the direction of thoroughness and

accuracy, which collectors can fairly raise.

PROF. DR. HANS W. SINGER.

xlix.

YOUTH.

Rd. Cosway, R.A., Pinxt. F. Bartolozzi, R.A., Sculp.

G. B. Cipriani, Del

P. Btutolvzzi, Sculf.

Gainsborough Dupunt, Pinxt.

F. Bartolozzi, R.A., HisloricalJCugraver to His Majesty. Sailpr. 1790.
THE RIGHT HONBLE. WILLIAM PITT.

M. Beneilitti, 1783.

F. Bartolozzi, Sculp., R.A., Engraver to His Majesty, 1785.
CATHERINE 11"., EMPRESS OF RUSSIA.

K.' C-on*a*f -R-A dcO.

si Portrait of a Lady

in a Crcaan I)refs

U

Thos. Lawrence, Pitut.

Francesco Bartolozzi, R.A., Sculpt.

H.R.H. THE PRINCESS AMELIA.

B. West, Inv. 1787, K.A. Etched by F. Bartolozsi, 1787.

PAX ARTIUM NUTRIX.

F. Bartoluzzi, Inv. anil Sculpr., 1791.

GUARDIAN ANGELS, OR SILENCE.

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F. Bartolozzi, Sculpt.

EUPHROSINE.

G. B. Cipriani, K.A., Piuxt

Francesco Bartolozzi, R.A., Sculpt.

PSYCHE GOING TO BATHE.

Sir Thomas Lawrence.

F. Baitulozzi.

MISS FARREN.

10

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Sir Joshua Reynolds, PR. A., Pinxt.

Francesco Bartolozzi, R.A., Sculpt.

ANGELICA KAUI'FMAN.

II

Sir y. Reynolds, Pin.x. F. Bartolozzi, Sculp.

THAIS.

/ B. Cipiia

R A., Sculpt.

CHARITY.

12

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F. Bartolozzi, Sculpt.

AUTUMN.

G. B. Cipriani, Invt

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JUPITliR AND JUNO.

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Lady Diana Beanclerk. F. Bartolozzi, R.A.

PORTRAIT OF ELIZABETH AND MARY BEAUCLERK.

16

F. Bartolozzi.

THE DANCE.

sir joshua reynolds's visiting card.

By Bartolozzi.

MRS. PARKER S VISITING CARD.
By Bartolozzi.

17

Colibei t, Dclt

Francesco Bartvlozzi,R.A.,Sitilf,t.

ZEI'HYRUS.

Colibert, Dclt

Francesco Bartolozzi, R.A., Sculpt.

FLORA.

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R. Coiway, R.A., Dcliut.

20

F. Bartolozzi, R.A., Sculpt.

MARIA COSWAY.

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Francesco Bartolozzi, R.A., Sculpt.

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J. Hoppner, R.A., Pinxi.

F. Bartolozzi, R.A., Sculpt.

THE RIGHT HONBLE. LADY JANE DUNDAS.

28

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F. Albano.

F. Bartolozzi, Sculp.

CUPID S MANUFACTORY.

Gucrcino.

F. Bartolozzi. Gucrcino.

F. Bartolozzi.

INFANT ST. JOHN.

MOTHER AND CHILD.

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Ang. Kauffman, Pinx.

F. Bartulozzi, Sculp.

STERNE S " MAKIA OF MOULINES.

THE GYPSY FORTUNE TELLER.

32

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THE FAIR ARIADNE.

F. Bartolozzi, R.A., Del it Sculpt.
33

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MANSION HOUSE TICKET.

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36

Francesco Bartolozzi, R.A., Sculpt.

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Pubd. as the Act directs, the 24 of Deer., 1785, by M. Bova,
No. 105, Swallow Street.

38

Fr. Bartolozzi, R.A., ad vivum, Del.

HIS GRACE THE DUKE OF MARLBOROUGH.
Engraved by jf. Ogbonic, from a Drawing by F. Bartolozzi, R.A.

39

P. Bartotozzi, R.A., Sculpt.
PASTORAL SUBJECT.

W . Hamilton. F. Battolozzi.

JOHN PHILIP KEMBLE.

Saml. Shelley, Del. Francesco Bartotozzi, R.A., Sculpt.

GEORGE, THIRD DUKE OF MARLBOROUGH,
CAROLINE HIS DUCHESS AND CHILD.

Raphael, Pinxt. Francesco Bartotozzi, R.A., Sculpt.

MADONNA DEL PESCE.

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F. Bartolozzi, Sculp., 1779.

A NAIAD.

42

VENUS AND ADONIS.

43

BUSINESS CARD FOR WM. WILSON.
By Bartolozzi.

G. B. Cipriani, Inv. et Del. F. Bartolozsi, Sculp., 1773.

ARIOSTO'S "ORLANDO FURIOSO." CANTO XXXV. STANZA XII.

44

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F. Bartolozzi, Sculpt. R.A.,
Ungraver to His Majesty.

PSYCHS GOING TO DRESS,

45

F. Whcatley.

P. liartoloizi. Sculpt.

WINTER.

46

O B. Cipriani Inv.

MATERNAL LOVE.

F. Bartolozzi, Scul/>x.

47

R. Wcstall.

/■'. Ilartolozzi, Sculpt.

SPRING.

48

Revd. Mr, Peters, Pinxt.

F. Bartolozzi, R.A., Sculpt.

THE TRIUMPH OF VI%TUE.

G. B Cipriani, Del.

Francesco Burtolozzi, R.A., Sculpt.

HERCULES AND OMl'HALE.

Sir yosliua Reynolds,
PR. A., Pinxt.

Francesco Barlolozzi,
R.A., Sculpt.

VENUS CHIDING CUPID.

F. Barlolozzi, R.A.'Invt., Belt, ami Sculpt.
HOPE.

49

Angelica Kaiiffman

F. Bartolozzi, Sculp.

RINALDO AND ARM1DA.

5°

GRISELDA.

51

52

HARRIET, VISCOUNTESS BULKELEY.
Engraved by /•'. Bartolozzi, after K. Cosway ,R.A.

Sportive Innocence

R. Cosway, Inv., R.A

F. Bartoloxzi, Sculps.

DONALD AND JKSSIE.

53

Drawn by Larinia, Countess Spencer.

HENRIETTA FRANCES, VISCOUNTESS DUNCANNON.

h'r. Bartohzzi ; Etchd.

54

W. Hamilton, R.A ., Pinxt

F. Bartuluzzi, R.A ., Sculpt.

THE RT. HONBI.E ANNE COUNTESS COWPER.

55

G. B. Cipriani, Invt

F. Bartoluzzi, Sculp.

NYMPHS AT FOUNTAIN.

56

jj ST. JAMES'S BEJ1UTY.

APPENDIX I.

A List of Published Engravings
by Bartolozzi.

Admission Tickets : —

Anacreontic Society : Lawrenson ; 3J X 4I
Bach and Abel's Concert: Cipriani; 4J x 3
Banti, Madame: Burney ; 5^ x 3f. 1795
4 x 3i
6 X 4i- 1797
Bessborough, Countess of: Ball; 3} x 3
Borghi Benefit, May II, 1789 : Cipriani; s., 3J x 4J

,, May 21st : Cipriani; 31 x 4

Concert of Ancient Music : N. Dance ; 5I x 4I
Cox's Museum ; Rebecca; 5 x 3J. 1772
Dragonetti's Benefit : Burney ; 5J x 4
Fierville's Ball : 3J X 4J, oval

„ Cipriani ; 3} x 3
Giardini Benefit : ,, 4! x 4, oval

>. (Comedy and Tragedy) 4J x 3}
,, ,, ,, (Apollo and the Muses) 5 x 4J

,, „ ,, (Mercury Inventing the Lyre)

4x5
,, ,, (Apollo Crowned) 4 j" circle

,, .. .1 (Triumph of Venus) 3! x 4^

,, ,, „ (Apollo and Pan) 4J x 4

,, ,, ,, (Cupid inspiring Sappho)

3j x 4L 1780
„ ,, ,, (Female and twoCupids)4" circle

three „ 3f X 3J
,, ,, ,, (Male and Female running)

5i x 5
,, „ ,, (Maleand Female running with

Dogs) 4J x 3J
Guadagni ,, ,, same design
Guildhall Banquet : 8 x 10}. 1763
Hanover Square Masquerade : Cipriani ; 4 x 4
„ Concert, 1788 ; ,, 3 x 2f
1789: .. 34 x 2J
1790: .. 3i x 2J
1793 : ,. 3 x 2j
1791- 4 x 3},
Jones Benefit : Cipriani ; 2! x 2}
Legard Benefit : A. Kauffman, 1781 ; 7 x 5! , oval
Mansion House Dinner : Cipriani, 1775 ; 8 x 7!
,, ,, Ball ,, 1796; same design

,. ,, ,, Hamilton, 1791 ; 5| X 4

New Club Masked Ball : Cipriani, 1775 ; -j\ x 10J
Pacchierotti Benefit : Burney ; 3 x 2J
Ranelagh Mosque : 1776, Cipriani ; 4 x 5}

,, Regatta Ball : 1775, Cipriani ; 8 x 6}
Reynolds's, Sir J., Funeral : Burney; 6J x 5
Royal Cumberland Freemasons' School: Stothard;

s> 4? x 3 J, oval
St. Margaret's Church : 1794, Smirk ; 5J x 7
Salomon Benefit: 1794, Rebecca; 3| x 2 \

Salpietro Benefit (Music) : s , 4 x 5, oval
1785, Cipriani ; 3| x 2|
,, ,, Bartolozzi; 4J x 3|, 1773

,, ,, Vieira; 4I x 4^

Savoia Benefit : Cipriani ; s., 3j x 4I
Scavoir-Vivre : 1775, Cipriani ; 4 x 54
Shane's Castle Masquerade : ,, 4$ x 5 J, oval
Subscription Ball, Hickford's Rooms, 1795: 35 x 2J
Tenducci Benefit Cipriani ; 4j x 4
Walker's Lectures : Hamilton ; 35 x 5
Wynnstay Theatre: Bunbury ; s., 5 x 6J oval
Abercrombie, Sir Ralph : J. Hoppner ; s., 10 x 10J
Abington, Mrs., as " Thalia" : R. Cosway ; s., 7J x 9J.

1783
Achilles and Briseis : Burney ; line, 2J x 4J
Adam and Eve : see Milton
Addison, J : G. Kneller ; line, 2§ x 4!
Adelaide in the Gardens of Bagnieres: Bunbury ; stipple

c.p. ; circle I2in. 1785
Adelaide or the Shepherdess of the Alps : Cipriani ; s. ,

10J x 13J, bistre. 1784
Admiral, Portrait of : A. Poggi ; s., 14 x 18. 1788
Admiration : P. Violet; s., 3J x 3!, bistre. 1797
Adoration (The) : Piazzetta; line, 2§ x 4J. Companion

to the Assumption
Adoration of the Magi : G. F. Barbieri ; s., i6i x 11
iEmilius Paulus with her Children : Kauffman ; s.,

18 x 1 4 J, bistre
Avarice, Charity, Devotion, Sacriledge (four on one

plate) : W. Hamilton ; s., 7 x 9. 1780
Amelia, Princess: Lawrence; s., 5J x 6J; pub.

line only. 1790
Amelia, Princess : Lawrence ; s. 5J x 6J ; fully

lettered, pub. 1792
Amoret and Britomart : Opie; s., 13! x I7f, blk.
Angel Gabriel : see Gabriel

Angelica and Medora : Cipriani ; stipple, nj x 9; B.M.
3 states
1st with names of a. and e. and pub. line 1787
2nd, the same with title added
3rd, with figures 47 above title
Angelica appearing to Sacripant : Ang. Kauffman ; line,

4i x 5J. 1783
Angelic Child: Robinson; s., 2 x 2J, oval. B.M., 2
states

1st with names of a. and e. and pub. line 1790
2nd with the same, with e.l.t. and dedication
Antinoiis : s., 2 J x 3, oval
Antony and Cleopatra, Act 5, Sc. 2 : Moreau le jeune ;

s., 3x5. 1786
Antony and Cleopatra : H. Tresham ; etching, 16J X II.
1794

57

Francesco Bartolozzi, R.A.

LIST OF PUBLISHED ENGRAVINGS— continued.

Annunciation (The) : Dom Zampieri ; this is composed

of the prints " Angel Gabriel," and " Virgin in kneeling

posture." B.M. has impressions both on one sheet,

and separately
Apollo holding a Lyre: G. B. Cipriani; s., 3 x 3S,

oval, red.
Ariadne : G. B. Cipriani ; e., 8J x gf . 1788

in Naxos : s., 6| x 8, blk.
Assumption of the Holy Virgin : Piazzetta ; line, 2f x 4!
Ascension, The : Jacobus Guarana ; line, 17 x 18
As You Like It : Rosalind : Ang. Kauffman, s., 3J x 4,

oval. 1781
As You Like It: Colia: Ang. Kauffman, s., 3J x 4, oval.

1781
Ash, John : Sir Joshua Reynolds ; s., 13J x 22. London,

published March 1st, 1791, by E. Walker & Co., and

J. Tomkins
Ashburton, Lord: Sir Joshua Reynolds ; s., 13J x i6f.

1790
Athanasius, Saint : Dom Zampieri ; Nic. Vanni del ;

line, 6x11
Atalanta and Hippomanes : B. Luti ; line, 9J x 14},

pub. by Read, 1791
Atalanta and Hippomanes : B. Luti ; line, gj x 14J,

pub. by T. Bradford, Fleet Street, excudit 1st July,

1763
Auld Robin Gray: Bunbury ; 1783, stipple, 11J" circle,

brown
Autumn : R. Westal ; s., 6J x 7J, bistre. 1790
Autumn : Cipriani (Girl with cup and staff), s., 3J x 4J,

oval, brown
Autumn : Cipriani (Girl with grapes) ; s., 3 J x 4J, oval,

bistre. 1782

Bach, J. C. : A. Carlini ; line, 8 x 13. 1782
Bacchanalian Children : M.Franceschini; line, 15J x ioj

,, Group : C. Cignani ; e., 9f x 7J

Bacchante (with cup in hand) : s., 12J" circle. 1799

,, Bartolozzi ; s., o x 7J, oval, red
Bacchantes : Kauffman ; s., 12" circle, bistre
Bacchus (Head of) : Stothard ; line, 2|" circle. 1796
Bacchus, as a Child seated astride a Barrel : e., 3J x 3J,
B.M., 2 states

1st " etch'd by Bartolozzi, 1796 "
2nd " engraved by R. H. Cromek, pupil of Franc.
Bartolozzi, R.A."
Bacchus and Ariadne : Cipriani ; s., 5J x 4J. 1787
Baldwin, Mrs. : see Portrait of a Lady in Grecian Dress
Barbieri, G. F. : line ; 9J x nj. 1764
Baronagium Genealogicium (Edmonson's), Front to

Vol. v. : Cipriani ; 9J x 16J
Bathing Machines and Figures : A. Pasquin ; e., 3J x 2 J
Beauclerk.Daughtersof Lady Diana : Lady D. Beauclerk ;

s. and e., n x 10J. 1780
Beauty : G. B. Cipriani ; s., 5 x 6J, oval, in red. 1783
Beauty Charmed by Music : Kauffman (1804) ; 7 x 5J,
oval, same design as Legard Ticket

Beckford, Mr., Private Plate for: Cipriani 15x7}
Beggar's Opera (The), Illus. to : Ibbetson ; line, 3J x 5J.

1791
Bellamy, George Anne; Coates and Ramberg ; s.,

2| x 3f, oval. 1785
Bell's Poets, Title Pages :—

To Churchill's Poems: Cipriani; s. and e., 2JX4. 1779

To Hammond's Poems: Ang. Kauffman; s. and e.,
2} x 4J. 1781
Bembo, Cardinal: Titian; s., 5J x 7J, title PetrusBembus
Besborough, Countess of : Lavinia, Countess Spencer ;

e., 8J x 11J. 1787
Bingham, Lady Anne : Reynolds; s., 6} x 8J, bistre
Blair, Dr. Hugh: Raeburn ; s., 10 x 12J. 1802
Blind Man's Buff: A. Kauffman; e., 11 x 10. 1784.

' Angelica ' spelt ' Angchia '
Benevolent Lady (The) : J. T. Barralet ; Plate engraved

with Morris, 12 X 15J. 1780
Berettini Pietro : Medallion supported by Time, who is

striking down Envy : C. Maratti ; line, nf x 17
Boat rushing over a Waterfall : line, 8} x 5!
Book Plate : Sir Foster Cunliffe, Bart ; 3} x 3$
Borghi's Six Overtures, Title page to : etching, 7} x 10.

1787
Borghi's Six Solos, Title page to : Cipriani ; etching,

7f x 10J. 1783
Boy Sleeping: E. Sirani ; line, 11J x 8£

,, Guercino ; s., 7! x 8, bistre. 1798

Bride of Otaheite (Woman with huge skirt) ; e., 7 x 8|
BritanniarewardingMusicand Literature ; W. Hamilton ;

s., 8J" circle. 1792
Bromley's Fine Arts, Front to : see Pax Artium Nutrix
Brunton Miss : R. Cosway ; s., 2} x 3J, oval
Buffett the Bear: s., 8 x 6J ; oval, bistre, 1794
Bulkeley, Viscountess : R. Cosway; s., 7 x 9J, bistre
Burghersh, Lord : Reynolds; s., 7$ x gj, o.l.t. 1788
Burney, Charles: Reynolds; s., 6 x 7J. 1784
" But Ah ! let pity turn her dewy eyes " : R. L. West ;

e., 5J x 4J. 1801
Bute, Countess of : Romney ; s., 7J x gf

Cajetanus, Saint: line, 9J x n|
Camden, Earl : Gainsborough ; Dupont ; s., 13J x 17
Capell, Edward : Roubilliac; s., 4J" circle. 1759
Caractacus : W. Hamilton ; s., 14I x n|, blk. 1788
Caroline, Princess of Wales and Princess Charlotte : s.,

5j x 9
Cathcart, Lady J. : A. Callot ; s., 6 x 7 J, oval, in red
Catherine de Ricci, Saint, in prayer: A. D. Gabbiani ;

Plate for " Cento Pensieri," line, 5$ x 8J. 1791
Catherine II., Empress of Russia: M. Benedetti ; s.,

9J x 14I. 1785
Cecilia : T. Engleheart ; s., 3 x 3}, oval, red. 1783

„ Saint: B. West; s., 3$ x n\, oval. B.M.,

2 states

1st, with publication line. 1783
2nd, ,, ,, i784

List of Published Engravings

LIST OF PUBLISHED ENGRAVINGS— continued.

Celadon and Amelia: Hamilton; s., 10 x 13, blk. 1794
Cephalus and Aurora: P.daCartona; line, 16} x lof.blk.
Cephalus and Procris : Cipriani, Marcuard, sculp.

Bartolozri, direc. ; s., 5J x 4J, oval
Ceres : s.c.p,, 8j( x 10
Chamberlain's Imitations : see under titles
Chambers, A Dissertation on Oriental Gardening, Title

page to : Cipriani ; e., 6 x 4! . 1772
Charity ; H. Ramberg ; line, 3 X 5J. 1788
Charles I., before the Execution : s., 17J x 14I
Charlotte and Werter : Charlotte sitting with her Sisters ;

stipple, nf" circle. 1783, bistre
Charlotte, Queen : Beechey ; s., 12 x 17J, bistre
Cherubins : Bartolozzi; s., nj x 7$. 1792
Chesterfield, Earl of : Bartolozzi ; line, 3f" circle
Child asleep on a Basket : Barbieri ; e., 9J x 7
Child interfering with a Cockfight: s., 3 J x 5, oval,

bistre
Child pointing to a Tablet covered with drawings of ears :

Bartolozzi; e., 4 J x 3 J
Children (two, giving a third a ride by means of crossed

hands) : s., 5J x 6f, bistre. 1791
Child Sleeping ? The Silence : s., 7J x 6, bistre
Child Sleeping (with title " Beauteous emblem of

sweetest innocence) : s., 7 x 8J, bistre. 1786
Child Stringing Leaves : Lady D. Beauclerk ; s., 5 J x 4 J,

bistre, 1796
Child with Cat in her Arms : s., 3J x 5, oval, red
Children Fighting: Cipriani; io| x 8J, bistre, 1787
Children at Play (three boys with a goat) : s., 7" circle, red
,, (seven ,, and sleeping satyr.) :

M. Franceschini ; I5§ x iof . 1765
Chryseis restored to her Father: G. B. Cipriani; s.,

14J x 11 J, oval. 1786
Churchill's Poems, Title page to : see Bell's Poets
Cicero : Cipriani ; line, 4J" x 6J 1780
Cignani, Carlo : Medallion with Time and Two Lovers

beneath ; C. Maratti ; line, 10J x 16
Cipriani, G. B. : s., 5J x 6J, oval. 1785
Cipriani's Rudiments of Drawing : all s., 11 x 7$, Title.
1786
I., Ears. II., Feet. III., Hands and Feet. IV.,
Two Girls and an Old Man. V., Four Curly
Headed Youths, one with wings. VI., Eyes.
VII., Three Cupids, one with a cup. VIII.,
Hands.
Clypeus Votivus : line, 7" circle. 1794
Clytie : A. Caracci ; line, 16J" circle, 1772, Cabinet

picture of J. Strange
Cobbett : Smith, J. R. ; s., 8J x 9i, blk. 1801
Colia ; see As You Like It
Comedy : Cipriani ; (Small Oval, half length figure), s.,

3J x 4, blk. 1784
Comedy: Cipriani; (Group of 5 figures), s., oj x II,

bistre. 1788
Comedy of Errors, Act 5, Sc. 1.: Hamilton; line,
3i x si- 1785

Composition : A. Kauffman ; s., 10J x gj, oval, blk.

1787
Conjugal Love : G. B. Cipriani ; s., 8| x 7
Contentment: Cipriani; s., 6J x 7 J, red. 1782
Cook, Capt. J. : Webber ; s., 3} x 4I, bistre. 1784
Cordelia : Ang. Kauffman; s., 10J x 12J, oval. 1784,

brown
Coriolanus: A. Kauffman; s., 17 x 13I, oval, bistre. 1785
Cornelia, Mother of the Gracchi: A. Kauffman; s.,

14! x nj. 1788
Cornelia, Mother of the Gracchi : B. West ; 5J x 4J,

oval. 1783
Cornwallis, Marquis of : Hamilton, H. D. ; s., 2J x 3},

oval, red. 1781
Cosway, Maria: R. Cosway ; s., 5J x 8J
Country Girl Going Reaping : F. Wheatley ; s., 8 x 10J,

bistre. 1797
CoutinhoD. Rodrigo de Sousa : Siqueira; s., 5x9. 1812
Cowper, Countess : W. Hamilton ; s., 5 x 6, oval
Cowper : Lawrence ; s., 7 x 9, o.l. title and 4 line verse,

bistre. 1805
Cox, Lt. Col. : Hounsom, G. ; s., 8J x 12J, blk. 1799
Crouch, Mrs. : Romney ; s., 6J x 8, bistre
Cupid with wand and ball : s., 2 x 2g, oval. 1785
,, ,, bow, club and lion's skin : s., 2 x a§, oval.

1785
Cupid with harp, seated on a lion : s., 3§ x 3J, oval,

1785
Cupid making his bow : Corregio ; s., 9} x 13}. 1785
Cupid shooting his arrow : line, 9J x 12}
Cupidon achettd trop cher : J. Tturts ; s., 7J x 5J, oval,

1786
Cupid bending his bow : M. Franceschini ; line,

6j x 9j
Cupid and Psyche : Lavinia, Countess Spencer ; line,

4x6, oval. 1792. This is 1442 in Tuer's list,

Cupid binding an Amulet on the Arm of Beauty
Cupid and Psyche (cupid with torch): s., 7J x 8^. ;

pub. by Boydell. 1789
Cupid and Psyche : s., 7J x 6, oval ; pub. by Humphreys
Cupids with an Anvil (? Cupid's Forge) : s., 3!" circle
Cupid's Manufactory: F. Albani ; s., 14J x 10J, oval.

1800
Cupid Sleeping on Woman's Lap, another Cupid nearby:

Kauffman ; s., 5 J x 4J, oval
Cupid Unveiling the face of a Sleeping Female : Cipriani ;

s., 7f x 6J, oval
Cupid with a Mirror : 4J x 5J, oval. 1794
Cupids at Play: G. B. Cipriani; s., 7^" circle. 1773,

in red
Cupids (three) one with Wreath of Flowers : Lady D.

Beauclerk; s., 7J" circle
Cupid with Torch, leaning on Pedestal with book :

Ramberg ; e., 2} x 2. 1788
Cupid with Torch and Laurel Crown: Ramberg; e.,

3 x 2f. 1788
Cupids (four) one sleeping : Cipriani ; e., g x 6f . 1787

59

Francesco Bartolozzi, R.A.

LIST OF PUBLISHED ENGRAVINGS -continued.

Cupids (four) with a Lamb: Simone de Pesaro ; s.,

!3f x 9i. red- 1770
Cupids (three) one has hold of others, hair : Lady D.

Beauclerk ; s., 5 J x 6f
Cymbeline : Imogen's Chamber: W. Marten; 1786, s.,

13 x 8|, bistre
Cyrillus, Saint : D. Zampieri ; N. Vanni del, line, 6 x 11

Dorset, Marchioness of : Holbein ; s.c.p., 9 x I2§.

1793

Duncannon, Henrietta, Frances Viscountess; Lavinia

Countess Spencer ; e., 8J X 11 J
Dundas, Lady Jane : Hoppner ; s., 6| x 8J, blk
Dunning, John: Sir Joshua Reynolds ; s., 6£ x 8, oval.

1787

D' Ageno : Gainsborough ; s., 3 x 4! , bistre

Da' 1' esca un picciol, &c. : Zucarelli ; line, 17^ x 12}

Damascenus, Saint : D. Zampieri ; N. Vanni del, line,

6 x 11
Damon and Delia : Ang. Kauffman ; stipple, 6 x 7J,

oval. 1780, bistre
Damon and Musidora : Ang. Kauffman ; stipple, 6J x 7§,

oval. 1782, red
Damon and Musidora: Opie ; stipple, 13J x 17J. 1796
Dance (The) : H. Bunbury ; s., u£ x 12J
Death of Cleopatra : G. B. Cipriani ; line, 10 x 7}.

1787
Death of Clorinda : Ang. Kauffman; 1785, stipple,

6J x 7j, oval, bistre
Death of Cora; H. Ramberg ; 1788, stipple, 6J x 7},

oval, brown
Death of the Stag : see Diana Hunting the Stag. No. 3
Death of St. Francis : Cigoli ; line, 3! x 5J
Death of St. Justine : L. Giordano ; line, 12J x 20J
Death of Queen Eleanor: W. Martin; s., 15 x 11J,

bistre
" Delightful Task to rear the tender thought " (Illus. to

Thomson's Season's) : Guercino ; stipple, oval,

7l x 9i' re^
Deserted Village (The) : F. Wheatley ; s., 17J x 14,

red
Design : Ang. Kauffman ; s. , 10J x 9, oval, bistre. 1787
Devonshire, Duchess of : see Foster and Georgiana
Diana and Endymion : s., 9} x 13, blk
Diana Hunting the Stag ; Gabbiani ; line, 15J x 12J,
oval, B.M., 3 states

1st, names of a. and e., and ded. in italics, ending

Niccolo Pagni ; d.d.d., blk
2nd, names of a. and e., and different ded., ending

Jgn. Hugford ; d.d.d., bistre
3rd, names of a. and e., title : " The Death of the
Stag," and pub. line. 1791, bistre
Diana preparing for Hunting : G. B. Cipriani ; line,

4j x 6
Dido : Cipriani ; line, 17J x 13. 1778
Dimond, W. and Miss Wallis as " Romeo and Juliet" :

C. Shirriff ; s., 5 J x 7J, oval
Diploma of Royal Academy : —
Cipriani ; line, 6x3}

„ 17J x uj, top half
,, 17J x 13 lower
,, ,, 17J X 24J, complete

Donald and Jessie : R. Cosway ; s., 7J X 9
Doralice : s.c.p., 7 x 8|, oval 1777

Eagle Killing a Man : Carigiasi ; e., 8 x 5J, oval
Edward, Prince (Heroism of) : Cipriani ; s., 14J x 10J,

bistre. 1789
Egerton, John, Bishop of Durham : Gausett ; s.,

3| X 4§ , oval, with arms below
Elements, The. Earth, Air, Fire and Water ; G. B.

Cipriani ; s., set of 4, each, 6x8, oval
Elizabeth, Queen of Edward IV., surrendering her son,

the Duke of York: G. B. Cipriania; s., 15 x 11.

1786
Elizabeth, Philippine Marie, Helene de France, s.,

2 J x 3, oval
Elliott, T, Knight : Holbein ; s., 8 x io|. 1794,

bistre
Elliott, T. Knight : Holbein ; the same with name in

open letters on the print
Erato: s.c.p., 5$ x 7J, oval. 1779
Essex, Earl of: Oliver; s., 3I x 4j. 1791
Euler, Leonhard : Darbes ; s., 45 X 5J, oval, bistre
Euphrosine : G. Amiconi ; s., 9J X nf, oval. 1784
Eurydice : A. Kauffman; s., 10J x 12J, oval. 1790
Eve and the Serpent : see Milton
Eyre, Miss, with Dog: Cosway; s. and e., 3 x 4§.

1778

Faery Elves : see Milton

Fair Alsatian: Kauffman ; s., jj x 7J, oval, red, title;

spelt ' Alsacien.' (1779)
Fair Student (The) : G. B. Cipriani ; s., 7$ x 9J
Faith: s., 3 x 4J, oval, bistre

,, Cipriani; s., 6} x 5$, oval
Family Praying : Barbieri ; De Pinacotheca Gen-

nariorum, e., 15J x 10L 1784
Fancy's Sweetest Child: A. Kauffman; s., 10 x 12J,

oval, blk. 1782
Farren, Elizabeth, Countess of Derby : Lawrence ;

commenced by Knight, and finished by Bartolozzi ;

s., 12J x I7J. 1791
Faun: Cipriani: s., 8 x 12J. 1787
Female Bust to right : A. Kauffman ; s., 5J x 6f , oval.

1779
Female Head to left, draped: G. Hussey; s., 3J x 5,

oval. 1775
Female Head to left, draped ; G. Hussey ; s., 3f x 5,

oval. 1776
Female sitting, looking at a picture which a Cupid is

showing her. Cupid with torch behind her: s.,

7 x 5li bistre

60

List of Published Engravings

LIST OF PUBLISHED ENGRAVINGS— continued.

Female sitting at table, with books and basket : Chin-

nery ; s., 6 x 7J
Female with Lamp held over fire: A. Kauffman ; s.,

8| x uj, oval. 1783
Females (two) sitting before a drawing board, sup-
ported by a Cupid : Cipriani ; e., 10J x 8|. 1788
Females (five) bathing: Cipriani; s., 10J x 8 J. 1767
,, and Cupids asleep beneath a tent : Cipriani ;

e., n x 9. 1787
Fitzgibbon, Lord: Cosway, R. ; s., 4J x 5, oval. 1790
Flanders, Jane, Countess of Mountford, assembling the

inhabitants of Rennes : Rigaud;s., 14J x 11J, 1789
Flight into Egypt : C. Maratti ; P. Violet, del., s.,

13J x 16J, bistre. 1797
Flora : Ang. Kauffman (Illus. to Thomson's Seasons) ;

s., 10J x 12, oval, blk
Flora : Colibert ; s., 5J x 7J, oval, bistre. 1788
Foote, Samuel; e. ,4 x 3. 1778
Foote's Elegy on Death : Title page to " Weep, Thaly,

Weep"; etching, 4x3. 1778
Foreign Nobleman with band across shoulder and

flowing wig : Pellegrini; s., 11 x 13, bistre. 1793
Foster, Lady Elizabeth, Duchess of Devonshire :

Reynolds ; s., 6| x 8. 1787
Fothergill, Dr. : Livesay ; s., 3 x 4, oval, red. 1782
Francis de Sales, St., beating down Heresy : J. Amiconi ;

line, 12J x 20J
Francis, Saint, praying for Sinners : J. a. S. Joannes;

line, 18J x 13
Francis, Saint, restoring a Woman's Eyesight : J. a. S.

Joannes ; line, 17J X 12J
Freemasons' Hall : Cipriani and Sandby ; line, 7J x 8}
Friendship: G. B. Cipriani; s., 6 x 7$, red. 1782.

B.M. also has state with title and pub. line only

Gabriel (Angel) : D. Zampieri, Nic. Vanni, del ; line,
8J x 8. This is a pair with " Virgin in kneeling
posture "
Gabriel (Angel) : G. B. Cipriani ; s., 3J x 4}, oval. 1776
Gardens (The) : by Mrs. Montolieu, 1805 ; Illustra-
tions to —

Front., after Portoensis ; 7x3

,, to Canto 2 ,, 6J x 4j
Tailpiece ,, 2, Bartolozzi ; 3J x 3J
Front, to Canto 3, Portoensis ; 6 x 3}
Tailpiece to ,, 3, Bartolozzi ; 3} x 3
4. ., 3j X 2j

Galatea (Metastasio's) : G. B. Cipriani ; 3J x 5J. 1783
Gate of Heaven : see Milton
Gay : see Beggar's Opera

Genius and Beauty : G. B. Cipriani ; s., 7 x 9. 1782

George III., Medallion Portrait on a cloud surrounded

by Cupids with Britannia, Lion and Assassin

beneath : Part by Collins remainder by Corbould ;

s., 14I x igj. 1802

George, Prince of Wales : P. Violet ; s., 3" circle. 1791

Georgiana, Duchess of Devonshire : Lady D. Beauclerk ;

s. and e., 7 X 6J.
Georgiana, Countess Spencer: Gainsborough; s.,

4x5, oval
Georgiana, Duchess of Devonshire : Nixon ; s., 3 x 4,

oval. 1783
Geography : Cipriani ; s., 7 x 8}, bistre. 1789
Girl in a Turban : Bartolozzi; s., 7} x n. 1780
Girl looking upwards, half length : Cipriani ; Dedicated

to W. Lock, 1772 ; s., 9" circle
Girl and Kitten, The: Reynolds; s., 7 x 8J. B.M.
2 states

1st with name of a. and e. and pub. line, 1787, bistre

2nd with o.l. t. and quotation from Dryden added,

colours

Girl reading letter and Playing with Dog ; e., 3 x 4, blk.

Girl before a Mirror: A. Kauffman; s., 5J x 7J, oval.

1793
Girl pouring water into a Shell : J. F. Rigaud ; s.,

5i x 6i' bistre
Good Samaritan, The : E. Edwards ; delin. line, 2§" circle
Gozzi, Gasparo : A Frontispiece ; Vanezia ; 1758; line,

4 x 4j
Graves, Thomas Lord : Northcote ; s., 13J x 17
Gray's Elegy ; Illus. to : I. B. Cipriani ; 1782 ; etching,

5i x 74
Grey, Lady Jane : W. Martin; s., 15 x 11 J, bistre
Gregorius Nazianzenus, Saint : Dom Zampieri ;

Nicolaus Vanni, del ; line, 6x11
Gregorius Nyssenus, Saint : Dom Zampieri ; Nicolaus

Vanni, del ; line, 6xn
Griselda : A. Kauffman; s., 10 x 13, oval, blk. 1784
returning to her Father; s., 8J x 10J, oval,
red. 1784
Griselda and Gualtherus ; s., 8J x 10J, oval, red. 1784
The above are subjects from Boccaccio's Story of
Griselda
Group of Men and Women inside a Temple Dancing ;

13 x 8J
Guercino : — Engravings from the original drawings of
Guercino, in the collection of His Majesty. 2 vols.
Volume I. Eighty-two Prints —
Banditti quarrelling ; 12 x 8
Companion to the preceding; 11J x 8j
Boy with a Lamb ; 9J x 8J
Circumcision, The ; 7J x 10
Concert, A ; 16 x 11
Cupid, with a Dart ; 6f x 6£
Eight Heads, Men and Women ; 10 x 7J
Five Boys Playing ; 10J x 7j
Flora, with a Boy ; 10 x 8
Flora, with Boys; 11} x 9}
Four Women, with a Boy ; 10J x 7
Guercino's Daughters; s., 9J x 12, oval. 1772.
B.M. 2 states

1st 9J x 12, oval, title in one line, blk.
2nd gj x n, title in two lines, red
Lady, Boy, and two Old Men

61

Francesco Bartolozzi, R.A.

LIST OF PUBLISHED

Guercino :— Engravings from Volume I.— continued.
Male Portrait with Shoulders draped ; 6J x 8
Naked Woman lying down with a Child ; 8J x 6J
Old Man Weeping ; 7J x 10J
Old Man, Woman, and a Boy, with a Model of a

Town; 6J X 10J. 1764
Pope with a Book ; 7 x o|
Portrait of a Lady ; 7J x o£
Portrait with a long Beard; 9$ x 11J
Portrait of Guercino
Portrait of a Woman ; 6J x 8f
Portrait of a Young Man ; 7$ x 9
Queen Esther and Ahasuerus ; nj x 8f
Sacrifice, A ; 15J x 10J
St. Jerome; gf x n J
St. John in the Wilderness ; 7j x gf
St. John with a Cross ; 10J x 8J
St. John Writing ; 7J x 9

St. Matthew, with an Angel and Book ; 154 x iof
St. Paul Reading ; 8 x io|
Salvator Mundi with Globe and Cross ; 9 x 8|
Sibyl with a Book ; 10J x 12
Sophonisba with a Bowl ; 8 x 9
The Almighty in the Clouds, with two Boy Angels ;

7| x 8J
Three Women, with a Boy lying down ; nj x 8
Three Women, with a Palette and Sketch of a Design ;

i5i x 9f

Turkish Woman Reading ; 8J x 8J

Two Boys ; 8 x iof

Two Men Playing on a Guitar and Singing ; 11J X 9

Virgin and Child holding a Book ; 6J x 9!

Virgin, Infant, and Joseph, with an Angel playing on

a Violin; i6J x 10J
Virgin, Infant, and St. John ; 8 x io£
Virgin Mary, Joseph, and Child with a Globe ; 11 X 8J
Virgin teaching the Infant Jesus ; gj x 7
Vocal Concert ; 12 x 7f
Warrior with a Truncheon ; gj x 1 1
Woman and two Boys ; 5 x 6
Woman on her knees with a Child ; 8 x 9
Woman with a Book ; 7 x 9

Ditto, with naked shoulders ; 8J x 6f
Woman with a Turban ; 7J X 8J
Young Man with a Boy, and a Boy in the Clouds ;

7 x 10
Young Woman in a thoughtful attitude ; 6J x 7!

All the above are etchings unless otherwise described.

Volume II. Seventy-three prints —
Boys Dancing ; e., 12 x 7!
Boys with Garlands of Flowers ; s., 114 x 6J
Boys Pressing Grapes; s., nfc X 7I
Cupid and Psyche with Dart; s., g.J x 6
Flora with a Cupid : s., 8J x 9*
Peter and Paul ; s., gj x 10J
St. Matthew ; s., g£ x nj

ENGRAVINGS— continued.

Gunnin, Miss: Saunders; s., 2J x 3J, oval
Guy, Thomas : Bacon ; line, iof x 19

Hamlet. Hamlet and His Mother: Hamilton; s.,

6J x 8J, oval. 1786
Hamlet. Ophelia: J. Nixon; s., 3j x 4J, oval. 1784

,, ,, Tresham ; line, i6f x 11

Hammond, Louisa, writing a letter: Kauffman, 1781 ;

s.c.p., 10 X I2|
Hammond's Poems, Title page to : see Bell's Poets
Handel Composing : Cipriani ; e., 6J x 7f . 1784

,, Cipriani; line, iof X 16
Hands, Studies of: Bartolozzi; s., 11J x 7j,blk. 1792
Happy Meeting (The) : Gurney Gilpin, Plate engraved

with Morris; line, 12J x 15J. 1780
Hardwicke, Lord Chancellor : W. Gardiner; s., 5I x 6J,

blk. I7gg
Harrington, Countess of, and Children : Reynolds ;

s., g x 11$. i78g
Harris, James : Bartolozzi ; 4J x 6J. 1766
Hatred, Love, Moderation, Fury (4 on one plate) :

W. Hamilton; e., 7 x g. i77g
Haydn: s., sf x 6J, oval
"He was wounded for our Transgressions": Guido;

s.c.p., 14 x 17J. 1802
Head of a Youth, with turban, full face: L. da Vinci;

s., 5 x 7|, blk.
Head of a Youth, curly hair, profile: L. da Vinci; s.,

6 x 8 J, red.
Head of a Youth, curly hair, profile: L. da Vinci ; s.,
6 x 8J, blk., with names of a. and e. and pub. line.
1796
Hebe: G. B. Cipriani; s., 34 x 4$, oval, pub. line.

1782
Hebe : G. B. Cipriani ; the same, with pub. line. i7gg
,, ,, s., g x 11J. i7gi

Ang. Kauffman; s., 5J x 6J, oval. 1782
Hector and Andromache : G. B. Cipriani ; oval,

10J x 13, bistre. 1786
Henderson, Mr., as " Iago " : Stuart ; s., 3§ x 4J, oval
Henry VI. of England : Sherwin ; gj x 174
Henry and Emma: Opie ; s., 13J x 17J, blk.
Henry VIII. : Holbein; s„ n| x 7J. 1800
Hercules and Omphale : G. B. Cipriani ; s., 5J x 4J
Hercules assisting Dejanira to take her Seat on the

back of Charon : L. P. Lugduneus ; line, 11 J x 15
Hermaphrodite: Cipriani; s., 8 x 12J. 1787
Heroism of Prince Edward : see Edward
Hieronymus : H. Constantini ; 6£ x 8f
History: G. B. Cipriani; s., 7J X 5}. 1782

s., 7j x s, oval. 1786
The above two are the same design.
History: Bartolozzi, I7g2 ; 3 x 34, oval. I7g3
Holbein's Heads : see under titles
Holbein, Hans: s., 15 J x 20, bistre
Holbein's Wife : Holbein ; s., 13J x 20J, bistre. I7g8
Holy Family : A. D. Gabbiani ; e., 13 x 10

List of Published Engravings

LIST OF PUBLISHED ENGRAVINGS— continued.

Holy Family : B. Luti ; line, n x 7J
Holy Virgin and Infant Jesus : Barbieri ; e., 7J x 7J
,, Infant Jesus, St. John at the door : Carlo

Maratti ; e., 7 x 10. 1785
Holy Virgin, Infant Jesus, an Angel and St. Joseph :

Barbieri ; e., 15 x 10
Holy Virgin, Infant Jesus, and St. Anne: Barbieri; e.,

9l X ii|
Holy Virgin, Infant Jesus, and St. John: A. Carracci ;

line, 19J x I4j
Holy Virgin, Infant Jesus, and St. Joseph : Barbieri ;

e., 10J x 14J
Holy Virgin, Infant Jesus, St. Jerome, Mary Magdalene

and an Angel : A. Allegri ; line, 10 x 12^

From a picture in the Dresden Museum known as

"Night." The plate left unfinished by Bartolozzi,

who commenced it at the age of 85, was finished after

his death by H. C. Muller.
Homer: J. Brown; s., 7$ x 10, oval. 1788
Hope : s., 4J x 5J, oval, bistre. 1794, single figure

,, Cipriani ; s., 7 x 5J, oval, bistre. 1784, 3 figures
Howard "On Prisons," Illus. to: 1780; etching,

5i x 6|

" I have laid the Foundation, etc." : Cipriani ; etching,

3i x 5i
II Ruggerio : see R.
II Mercurio Italico : see M.
Infant John the Baptist : Barbieri ; e., ioj x 14
Innocence taking Refuge in the Arms of Justice : L. E.

Le Brun ; s., 16J x 13. 1782
Invention : A. Kauffman ; s., 10J x 9J, oval, bistre.

1787

Jacob returning to his Father's House : B. Castiglione ;

line, 15J x 10J
Joan of Arc : R. Westal ; s., 17J x I2J, blk. 1792
John Nepomucene, Saint, in heaven : F. Riviera ; line,

10J x 15J
John the Evangelist, Saint: Barbieri; e., 6J x 9
Johnson, Samuel : line, circle, 4I". 1785
Jonah : B. West ; Title-page to an oratorio, line, 5§ x 7J
Joseph and Elizabeth of Spain : J. Z. Florentius ; line,

7 x 8}
Judgment of Britannia : H. Richter ; stipple, i8| x 13J,

bistre
Judgment of Paris : G. B. Cipriani ; stipple, 7J x 5j,

oval, bistre. 1785
Judgment of Paris : Burney ; 1790, 6^X4!

,, ,, : A. Kauffman ; s., 17 x 13^, oval

Jupiter and Europa : Guido Reni ; s., lof x 13J,

bistre. 1771
Jupiter and Io : Correggio ; s., 9! x 13^, red

,, and Juno : Cipriani ; s., 6£ x 5J, oval. 1784
Jupiter Dodonaeus: G. Hussey ; s., 5 x 6|, oval. 1774

Justice and Peace : 3 x 2J, oval

Juvenis ascultans Seni de divinis admonenti (My son

attend unto my wisdom, etc.. Proverbs, Chap. 5) :

Pellogrini Tibaldi, del. ; line, 12 x 16

Kauffman, Angelica : Reynolds ; s, 8 x gj, oval. 1780,

red
Kemble, J. P., as " Richard III." : Hamilton, W. ; s.,

16 x 22. 1764
Kilwarden, Lord: Hamilton, H.; 9 X IX, 1800
King, Capt. James : Webber ; s., 3I x 4J, bistre. 1784
King Lear (Lear and Cordelia) : etching, i6| x 11J
King Lear : see also Cordelia
Kingston, Duchess of : Cosway ; S., 2§ X 3! , oval ; red.

1781
Kippis, Andrew : W. Artaud ; s.c.p., 9x11

Lady and Child : Salsa Ferrata ; 5J x 7J. B.M. 1767

Landscapes : —

View of a Castle, river in foreground ; 10 x 7J
after Poussin : figure fording a stream ; 9J x 6f
,, P. de Cortona : mountainous scene ; 13 x 8|.

i763
after A. Caracci : men bathing ; 19J x 14
,, Clerisseau : Interior of Castle, three figures in
foreground ; 6J x 7f . 1783
after Clerisseau : Exterior of Castle, figures and

animals in foreground ; 8f x 5J. 1783
after Clerisseau : Interior of Castle, figures and

animals in the foreground ; 8f x 5J. 1783
after Clerisseau : Ruins of Castle, three men to

left; 8f x 7£
after Zocchi : Boar hunt ; 16J x 15
,, ,, Stag and hounds ; 16J x 15

,, Claude: e, 7} x 5|, dedicated to Mr. Hudson
Lauretta: Loutherbourg, figures only by B. ; 12J"

circle
Lavinia : Gainsborough ; s., 13! x 18, blk.
Lazzarini Domenico ; 4 x 4J, oval
Lear and Cordelia : see King Lear
Lenox, Mrs. A. : Reynolds; s., 3I x 4I, 1792
Lesbia : Reynolds; s., 6J x 8J, bistre, and also in cols.

1788
Liberty seated on a globe, holding olive branch, staff

and cap of liberty ; 8J x 9
Lodona: M. Cosway, 1792; stipple, 17J x 14. B.M,
two states.

1st, title in open letter, blk,
2nd, title in closed letters, bistre.
Loughborough, Lord: Northcote ; e. ands., 13 x 16J
Love Rejected : s., 44 x 3$, oval, in red
Lovelace in Prison : I. F. Rigaud ; s., 12J x 10J, oval
Lovely Berenice was now fourteen, &c. (The) :

Hamilton ; 4! x 6J. 1799
Lucy of Leinster : Bunbury ; s., 18 x 13!

63

Francesco Bartolozzi, R.A.

LIST OF PUBLISHED
Luke, Saint, painting the Virgin : Simon Cantarini ;

line, 7} x of
Lunardi, Vincent : R. Cosway ; s., 4 x 4}, bistre. B.M.

2 states.

1st with names of a. and e., and pub. line. Oct.

4th, 1784
2nd with title, ded, and e.t. added, and pub. line.
October 5th, 1784

M, : Agrippa ; s., 3i" circle

Macbeth, Act 1, Sc. 2 : de Loutherbourg ; 3} x $\. 1784

same print with title spelt ' Mackbeth '
Macklin's Poets' Gallery : see The Deserted Village
Madonna and Child : s., 5" circle

,, Carlo Dolci ; line, 6 x 7$. 1769

Madonna : Carlo Dolci ; Cabinet picture, Clotworthy

Upton, line, 4x6
Madonna della Seggliola : Raphael Zanzio ; s., 7J" circle.
B.M, 3 states,

1st s. in blk., Raffael pines ; F. Bartolozzi, del. and

sculp. Pub. 1st April, 1773
2nd s. in red. Pub. April 15th, 1778
3rd s. in red, Raffael pinx ; F. Bartolozzi sculp. Pub.
1st May, 1778
Madonna del Sacco : Andrea Vannechi ; line. B.M.
2 states. 1797

1st picture only, 23 x n J, semi-circular
2nd with portrait below. 1797.
Madonna with the Fish : Raphael ; G. B. Cipriani, del.

line, 7x9
Magnus Basilius : Dom Zampieri ; N. Vanni, del., line,

6 x 11
Maggi, M. M. : B. Rebecca ; s.. 3f x 4I oval, 1788
Malone, E. : Reynolds; s., 2} x 3i
Mallet, Title page to : A. Kauffman ; line, 2J x 4
Man in Act of Execution : Guercino ; e, ioj x I4i
Man of Easter Island : W. Hodges ; line, 7 x 8|. 1777
Mansfield, Earl of: Reynolds; s., 13 x iOf. 1786
Marc Antony ; s., 3J" circle
Marie Antoinette ; s., 2J x 3, oval
Margaret's Tomb : Bunbury ; stipple, 17I x 14 blk.
Market of Love : s„ 8} x 7

Marlborough, Duke of, and Family : Shelley ; s., 3 J x 4
Marlborough Gems : 1789-90; 2 vols.
Front, to Vol. 1 : Cipriani; 8| x 11
Plate I. Publius Scipio Africanus : s., 2§ x 3|.

oval
Plate II. Lucius Cornelius Sylla : s., fl| x 3$,

oval
Plate III. Julius Caesar : 2} x 3$, oval

,, IV. Marcus Junius Brutus : 2} x 3|, oval
V. ,, ,, ■• wi'h caduceus:

s., 2| X 3£, oval
Plate VI. Lepidus : 2J x 3J, oval

,, VII. Augustus, crowned, to right : 2J x 3J,
oval
Plate VIII. Augustus, crowned, full face : 3J x 3},
oval

ENGRAVINGS— continued.

Plate IX. Marcellus, son of Octavia : 1} x 2§,

oval
Plate X. Livia and Tiberius : s., 3I X 3J
,, XI. Tiberius : s., 2| x 3j, oval
,, XII. Germanicus: 2§ x 3 J
,, XIII. Agrippina, wife of Germanicus, 2j x 3J,
oval
Plate XIV. Agrippina as " Ceres" : 3i x 4J, oval
„ XV. Galba, to right : s., 2$ x 3f, oval
,, XVI. Galba, to left : s., 2} x 2J, oval
,, XVII. Nerva, full face : s., 2$ x 3$
,, XVIII. Nerva, to left : 2J x 3S, oval
,, XIX. Marciana : 3§ x 4J, oval
„ XX. Sabina : z\ X 2f , oval
„ XXL Antinous : 2 x 2$, oval
,, XXII. Caracalla, full face: s., 4£ x 5|, oval
,, XXIII. Caracalla, to left: s., 2f x 2J, oval
,, XXIV. Julia Domna : s„ 2j x 3i, oval
,, XXV. Laocoon : 2J x 3^, oval
,, XXVI. Semiramis : 2§ x 25, oval
,, XXVII. Minerva Alcida : s., 3§ x 4$, oval
,, XXVIII. Phocion: s., 2g x 2 J, oval
„ XXIX. Jupiter and Juno : s., 3$ x 3J, oval
,, XXX. Venus: s.. 2J x 2J, circle
,, XXXI. Bacchante : s., 2J x 3J, oval
,, XXXII. Hercules Bibax : 3J x 5, oval
,, XXXIII. Bacchus: 3§ x 4J, oval
,, XXXIV. Faun: 4| circle
,, XXXV. Athlete: 4! x 5f, oval
,, XXXVI. Mercury : s., 3i x 5|, oval
,, XXXVII. Mars : 3§ X 4§, oval
„ XXXVIII. Soldier descending a rock, 3J x 4$,
oval
Plate XXXIX. Diomedes and Ulysses : si X 4|,
,, XL. Marine Deities: s., 5 J X 5, oval
,, XLI. Wounded Soldiers : 3 J x 3|, oval
„ XLIL Soldier defending Comrade : s.,4fx 3}
oval
Plate XLIII. Woman and Girl Walking : s.,

3i x 54. oval
Plate XLIV. Faun teaching child to play the

Flute : s., 2f x 4i, oval
Plate XLV. Alexander The Great ; 2J x 4I, oval
,, XLVI. iEneas Saved by Apollo: 6 J x 6,
oval
Plate XLVII. Festival in Honour of Victory : s.,

2| x 6
Plate XLVIII. Dying Amazon : 3} x 3|, oval

XLIX. Festival in honour of Bacchus :
5| X 4
Plate L. Marriage of Cupid and Psyche : s.,

6x5, oval
Frontispiece to Vol. II. : Cipriani ; 8} x 11J
Plate LI. Ptolomacus : 2§ x 3^, oval
,, LII. Metrodorus: s., 3J x 4i. °val
,, LIII. Socrates and Plato : s., 3$ x 3, oval
,, LIV. Alexander the Great : s., 2| x 3i

64

List of Published Engravings

LIST OF PUBLISHED ENGRAVINGS— continued.

Marlborough Gems : — Continued.

Plate LV. Sappho : 3J x 4J, oval
,, LVI. Phryne : s., 2f x 3J, oval
,, LVII. Pyrrhus : s., 3 x 3}, oval
„ LVIII. Unknown Head, to right : s, 3J x 4,
oval
Plate LIX. Unknown Head, full face : s., 2$ x ]j
,, LX. Medusa, to left: s., 2J x 2§, oval
,, LXI. Medusa, full face : s., 3| x 3!
,, LXII. Minerva : s., 2f x 3§, oval
,, LXIII. Bacchus: s., 2| x 3§, oval
,, LXIV. Goddess Libera : s., 3J x 3$, oval
,, LXV. Bacchante: s., 2g x 3, oval
„ LXVI. Mercury : s,, 2J x 2J
,, LXVII. Isis : s., 2$ x 4J, oval
,, LXVIII. Hercules, and Iole : s.,each, 3x3!,
oval
Plate LXIX. Lucius Junius Brutus : s., 2J X3§,oval
Plate LXX. Hannibal : 2J x 3J, oval

„ LXXI. Lucius Cornelius Sylla: s., 3J x 3J,
oval
Plate LXXII. Mecsenas: s., 2j x 3§, oval

,, LXXIII. Marcus Agrippa : s., 2| x 3$, oval
,, LXXIV. Livia Drusilla : s., 2| X 3§, oval
,, LXXV. Drusus, son of Tiberius : s.,2§X3j,
oval
Plate LXXVI. Drusus, son of Germanicus : s.,

2J x 3j, oval
Plate LXXVII. Antonia or Agrippina : s., 2§ x 3§,

oval
Plate LXXVIII. Domitia or Julia : s., 3J x 3J
„ LXXIX. Hadrian : s., 2| x 3J, oval
,, LXXX. Antinoiis : s., 2J x 3J, oval
,, LXXXI. Unknown Head : s., 2f x 3|, oval
„ LXXXII. Lucilla: s., 2j x 3
,, LXXXIII. Didius Julianus Augustus and
Manlia Scintilla Augusta : s., 5| x 4|,
Plate LXXXIV. The Dog Sirius : s., 2| x 3g, oval
„ LXXXV. Cows : 3J x 3|, oval
,, LXXXVI. Horses : 4 x 3i, oval
,, LXXXVII. Lion Killing a Bull : s.. 3§ x 2$.
oval
Plate LXXXVIII. Temple of Mercury : 4} x 5,

oval
Plate LXXXIX. Emperor Vanquishing an Enemy :

3§ x 3j. oval
Plate XC. Apollo and Coronis : 48 x 5$, oval
,, XCI. Cupids: 3§ x 3|, oval
,, XCII. Ganymede: s., 3J x 4J, oval
,, XCIII. Ganymede and the Eagle : s.,
2J x 2J, circle
Plate XCIV. Hercules Strangling a Lion : s.,

ij x 2§, oval
Plate XCV. Faun : s., 3I x 4$, oval
,, XCVI. Omphale : s., 3J x 4J, oval
,, XCVII. A Triumph : s., 4 x 3J, oval
,, XCVIII. Biga, fragment : 5J x 3j, oval

Plate XCIX. Biga, restored : s., 6 x 4 J, oval

,, C. Silenus, Tiger, &c. : 5 x 4 J
Tailpiece to Vol. 2., 5 x 4J.
Martial, Title page to : Cipriani ; 3! x 6J. 1783
Maternal Love : G. B. Cipriani ; s., 8| x nj
Mary Queen of Scots : s., 4J x 5J. 1797

with her Son : Zucchero ;
10J x 15}, 1779
Mason's Ode to a Water Nymph, Illus. to : see A Naiad
Mater Dolorosa, with five Cherubim's Faces : line,

6f x 10J. 1808
Matilda, The Empress, and Queen of Stephen : Rigaud,
s., 15 x 11J, B.M., 3 states

1st, names of a. and e. and pub. line. 2nd March,i789
2nd, the same with title and ded. added
3rd, the same with title and ded., but pub. line,
dated 4th May, 1803
Maty, M. : s., circle 4J"
Measure for Measure, Act 4, Sc. 3 : de Loutherburg ;

3x5
Medal, Design for a: E. Edwards; 2 ins. ob. inscr.,

s-eculi felicit, rev. ins., VICISSIT TEMP
Medea : Cipriani ; 8J x 9, 1787
" Me, me adsum," &c. : Vieira ; etching, 3} x 5J
Memoirs of Thomas Hollis, 1770, Allegorical Title-Page :

Cipriani ; 6} X 9!
Memorial Card of James Thompson : s., 8 x 10

11 ,. by Lady D. Beauclerk : s., 8J x nj,

1796

Mercurio Italico (II.) : Burney ; e., 4J x 3f. 1789,
B.M., 2 states

1st, p.b. title

2nd, with o.l. title and quotation from Lucretius
Mercury inventing the Seven-stringed Lyre : line,

4 x 5j
Mercury instructing Cupid : B. Luti ; s., 3i x 2J
Merry Wives of Windsor, Act 3, Sc. 3 : P. J. de

Loutherbourg 13x5. 1785
Metastasio's Galatea : see Galatea
Milton's Paradise Lost, Illus. to : Hamilton : —

Eve and the Serpent : 3J x 4J

Adam and Eve : 3J x 4$

Adam and Eve reclining : 3J x 4J
Milton's Paradise Lost, Illus. to ; Stothard : —

Faery Elves : s., 6 x 5. 1792, bistre

The Morning Hymn : s., 8| x 6J. 1796, bistre

Satan : s., 8£ x 4. 1792, bistre

Satan : s., 10 x 5. 1793, black

Adam and Eve, with Angel: s., loj x 5. 1793,
bistre

Morning (unpublished) : s., 10J x 5J, bistre

Uriel, on a Sunbeam: s., 6f x 5

Pandemonium : s., 10J x 5. 1792

Sin and Death : s., 6} x 5. 1792

The Gate of Heaven : s., 7 x 5J. 1793
Minerva Visiting the Muses: G. B. Cipriani; line,
«7i x 4i- I777i B.M., has a state with o.l.t.

MlNERUA VlSSITING THE MUSES

65

Francesco Barto/ozzi, R.A.

LIST OF PUBLISHED

Miranda : see The Tempest

Monkey on a Man's shoulder (Georgian Scene) : T.

Mortimer ; line, 3J x 5J
Montague, Mrs. : Reynolds; s., 3! x 4I. 1791
Montelicus, Enchanted Plant, Front to : line, 4} x 7
Months, The : G. Zocchi ; set of 12, i6J x I2f
Monument to the Woodmason Children : C. R. Ryley ;

4} x 6. Pub. 1798. Note : Republished, 1825
Monument to Lord Chatham : J. Bacon ; etching,

7i x 12J. 1779
Moore, Title Pages to : Rebecca ; line, 2§ x 4J. 1782
Morning : see Milton
Morning Hymn : see Milton

Mortal che sei ? un nulla: Ramberg ; 1788, 3 x ft.
Mother and Child : Cipriani ; e. , 5 J x 7. 1768
Mountford, Countess of : see Flanders
Music : —

Kauffman ; line, 2! x 3i, oval. 1782
Cipriani : s., 4J x 3J, oval. 1793
e., 7$ x 5J, bistre 1782
,, e., same picture, black. 1785

s., 7! x si, oval, black. 1786
Music, seated below a Figure of Pan : s., 4 x 4J, oval,
bistre

Naiad (A),Illus. to Mason's Ode : Cipriani ; s., 8J x ii|,

oval, bistre. 1779
Naked Child Sleeping: E. Sirani ; 11J x 8J
Napoleon I. : Appiani ; s., 13 x 15
Narcissus : B. Luti ; line, 10 x 13 ; pub. 1791
Natter, Laurence : A. Salvi ; ij" circle
Neptune and Amphitrite : G. B. Cipriani ; line, B.M., 2

states

1st, 8J x 2f
2nd, 17} x 4
Nevernois, Duchesse de : Marie Therese de Brancas; s.,

5j x 5|
Nilus, Saint: Dom Zampieri ; N. Vanni, del., line,

6 x 11
Northumberland, Duke of : Hugh Smithson ; 3f x 5,

oval
Nymph of Immortality: G. B. Cipriani ; s., g| x iij,

oval, bistre. 1784
Nymphs at Fountain : G. B. Cipriani ; s., 5J x 6J, oval
Nymphs Bathing : G. B. Cipriani; s., 8} x 5},, oval
Orlando Furioso di Lodovico Ariosto : Birmingham.

1773, 8vo. :—

(1) Canto I., Stanza xxv.

" Vede di mezzo il fiume un Cavaliero
Insino al petto uscir, d' aspetto fiero " ; 3§ x 5 J,
line

(2) Canto II., Stanza X"?

" Ecco Rinaldo con la spada addosso
A sacripante tutto s'abbandona" ; 3J x 5, line

(3) Canto X° , Stanza xxvii"

" Che debbo far ? che poss'io far qui sola ?
Che mi daajuto, oime, chi mi consola ? " ; 3! x 5 J,
line

ENGRAVINGS— continued.

(4) Canto XI? , Stanza lxii?

" Lo corse ad abbracciare, e a fargli festa,
Trattasi la celata ch' avea in testa" ; 3§ x 5},
line

(5) Canto XIX., Stanza xxxvi.

" Angelica, e Medoro in varj modi
Legati insieme di diversi nodi ; " 3f x 5J, line

(6) Canto XXIV., Stanza lxxxiii.

" Zerbin la debol voce rinforzando
Disse : lo vi prego e supplico, mia Diva ; " 3I x 5 J ,
line

(7) Canto XXXV., Stan2a xii.

" , . . scuote
II lembo pieno ; e nella torpid' onda
Tutte lascia cader 1' impresse note;" 3! x 5J,
line

(8) Canto XXXVI., Stanza lviii.

" In quel momenta il monte, e il piano scosse
Un gran tremuoto ; e si senti con esso,
Da quell' avel, che in mezzo il bosco siede,
Gran voce uscir, ch' ogni mortale eccede ; "
3i x 5j, line

(9) Canto XL., Stanza xxxvi.

" E d' uccider se stesso in pensier venne
E lo facea, ma il Re Sobrin lo tenne ; " 3! x 5$,
line

(10) Canto XLIIL, Stanza clxxxv.

" Stava ella nel sepolcro ; e quivi attrita
Da penitenza, orando giorno e notte ; " 3J x 5J,
line

Note No. 2, B.M. has an impression with name spelt

' Bartholozzi '
Note No. 4, B.M. has an impression with name spelt

' Bartholozzi '
Note No. 5, B.M., has an impression with names spelt

' Bartholozzi ' and ' Cipriany '
Note No. 6, B.M. has an impression with name spelt

' Barthollozzi '
Note No. 8, B.M. has an impression with name spelt

' Bartollozzi '
Note No. 10, B.M. has an impression with name spelt

' Bartolozi '

Octavia : s., 3 J" circle

Omai, a Native of Utaietea : Nathaniel Dance ; e. and

s., 11J x 18. 1774
Ophelia : see Hamlet

Orange Girl : J, H. Benwell ; s., 6f x 8|, blk. 1787
Oriental Gardening, a Dissertation on : see Chambers
Origin of Design : s, 4^ x 3 J, oval
Orlando Rescuing Olympia : Canto X 15I x 15
Orpheus, Title page to: s., 3} x 5, oval, bistre

Painting: G. B. Cipriani ; s., i\ x 5, oval. 1787
Pandemonium : see Milton
Paradise Lost : see Milton

Parental Affection: W. Hamilton; s., io| x 13, blk.
1795

66

List of Published Engravings

LIST OF PUBLISHED

Parnell's Poems, Illus. to(The Three Graces ?) : Hamilton ;

etching, 3x4.
Parting of Achilles and Briseis : E. F. Burney ; e.,

2} x 4i. 1794
Parting of Achilles and Briseis ; G. B. Cipriani ; s. ,

145 x 11J, oval. 1786
Pasquin, A: s., 2} x 3^
Pastoral : line, 3! x 5J

Paul, St., at Melita : B. West; line, 14J x 26J. 1790
Pax Artium Nutrix : B. West ; etching, 7J x 8f . 1787
Peasants Feasting : Bartolozzi and Vivares ; 18 x 17J
Dancing: ,, ,, '774.

18 x 17!
Pegasus : G. Cipriani ; line, 4! x 3|. 1790
Peter, the Wild-boy, in 1782: J, Alefounder : s.,

2i x 3J, oval. 1784
Peter, the Wild-boy (face slightly to left): s., if x 1$,

oval
Peter St. Regalato : G. Zocchi, Trovandosi ; line,

7 x 10
Peter St. Regalato ; G. Zocchi ; line, 7! x 9J
Pitt, William : Gainsborough Dupont ; s., 13J x ij\.

1791
Pitt, William : Copley ; s., 4J x 5, oval ; p.b.t.

with artist's name spelt ' Coply '
Pitt, William : Copley; s., 4J x 5, oval ; title and pub.

line, 1789, added and name corrected
Poetry : A. Kauffman ; 3} x 4I, oval., B.M., 2 states
1st, names of a. and e., and pub. line. 1781
2nd, title in fancy type, but without pub. line
Poetry : Le Brun ; s., 5J x 6, oval, red. 1775
Poetry and History, presenting Painting with subjects

for the Pencil : Hamilton ; e., octagonal, 3} x 5.

1794
Ponsonby, Hon. Caroline : R. Cosway ; s., 2J x 3,

oval. 1788
Portland Vase : Cipriani ; line, 7 x 10J. 1786
Portrait of a Lady in Grecian Dress (Mrs. Baldwin) :

R. Cosway; s., 8 x uj, in red. 1782
Portrait of a Gentleman, with dog : by Earl ; s.,

I if X 14!. 1802
Portrait of an old Lady: R. Duppa ; s., 3J x 4J. 1796
Portraits, six on one sheet : Mater Dolorosa ; Ecce

Homo; St. Maddalena; St. Martha; St. Peter;

St. Giovanni. Gio Batta: Cinoldor, e. Figlio, line,

each, 2§ x 3f
Potts, Miss, as "Thais": Reynolds; s., 10J x 17.

1792
Power of Beauty: G. B. Cipriani; s., 5! x 4f, oval,

brown. 1786
Prayer Books, Plates to : Stothard ; stipple, without

titles

Burying the Dead : 5! x 6|, before all letters, in blk
Confimation : 5J x 6J, before title. 1792, in blk
The Nativity : 5J x 6|, before pub. line and title.
1791, bistre
Prosperity : Cipriani ; s., 6 x 5, oval, in red. 1783

ENGRAVINGS— continued.

Prospero Disarming Ferdinand : Bunbury ; stipple,

17J x 14^, blk. 1792
Private Cards : B. Costa ; e., 3J x 2|. 1791

,, ,, Mrs. Parker : Cipriani ; e., 2§ x 2J, oval

,, ,, Sir J. Reynolds; e., 2| x 2J

Prudence: G. B. Cipriani; s. , 5 x 6J, oval, bistre.

1786
Psammetichus and Rhodope : Ang. Kauffman ; s.,

I2| x 10J. 1782, bistre
Psyche going to Dress : G. B. Cipriani ; s., 7 x 8},

oval. 1786
Psyche going to Bathe : G. B. Cipriani ; s., 7 x 8f .

1786
Ptolomaeus Philadelphus : s., 2J x 3, oval

Quirino, Andreas : s., 6f x 7f , oval

Rape of Dejanira : G. B. Cipriani ; c, nj x g. 1787
Ratclifl'e, Lady: Holbein; s.c.p., 7J x n. 1793
Reading Magdalen (The): Correggio; s., 10J x 15,

bistre
Rebecca hiding her Father's Idols : P. Berettini ; e.,

I4i x 10. 1765
Repose in Egypt : N. Poussin ; c, 17J x 23 J. 1795.

B.M. 2 st.

istF. Bartolozzi; etch d. 1795
2nd „ R.A. ,, ,,

Resurrection of Lazarus : B. Castiglione ; e., 15J x 10J
" Rhodope," Front, to: A. Kauffman; 5J X 6
Rinaldo and Armida : A. Kauffman ; s., 6J x 7f, oval
Roger's Century of Prints, Title pages to : G. B.

Cipriani; s., 10J x 14J, vol. 1, red. 1766
Roger's Century of Prints, Title pages to : B. Rebecca ;

s., g£ x 14, vol. 2, red
Romeo and Juliet: W. Hamilton; s., 6J x 8J, oval.

1785
Romeo and Juliet : see also Dimond.
Rooke, Sir G. : J. Faber ; s., 3J x 4J, oval
Rosalind : see As You Like It
Rosalba Camera : Rosalba; s., 3 x 3I, oval in red.

1778
Ruggerio (II.) : Illus. to Act 3, Sc. 4 : Cipriani ; etching,

3j x 5}. 1781
Rural Innocence : S. Harding ; s., 6 x 8J, o.l.t., bistre.

1785
Rutland, Duchess of : s., 3J x 4, oval. 1780

Sacking of Rome : S. Ricci ; etching, 22 x 16
Sacrifice to Jupiter : G. B. Cipriani ; line, 18 x 4J. 1777

,, of Noah : B. Castiglione ; e., 16 x 10J
Sacrifice to Cupid : Cipriani ; s., 10 x 7J, oval. ' Sacri-
fice ' spelt ' Sacrafice '
Sacrifice to Diana : P. Berrettini ; e., 17 x ioj. 1776
Saints : see under their names

(Three) of St. Dominic in a Cave: Piazzetta
line, 12J x 21J

67

Francesco Bartolozzi, R.A.

LIST OF PUBLISHED ENGRAVINGS-cofirmued.

Saints (Three) of St. Dominic before the Holy Virgin :

A. Balestra ; line, 13J x 21
St. Giles's Beauty : J. H. Benwell ; s., 4I x 6J, oval,

1783
St. James's Beauty: J. H. Benwell; s., 4! x 6J, oval
Samson breaking his Bands : Rigaud ; line, 12J x 10J
Sancho, Ignatius: Gainsborough; s., 2f x 3 J, oval
Sancho's Letters : Titlepages to Vol. I and 2 ; 2}"

circle, line. 1802
Satan : see Milton

Savile, Statue of Sir G. : J.Fisher; 13 x 24J. 1790
Seasons, The : see Spring, Summer, Autumn, and

Winter
Seasons (The), (Family Group) : Hamilton ; s., 6J x 5,

bistre. 1793
" Sed Placidam Pueri, etc.": Mortimer; etching,

3l X 4}. 1778
Selim, or the Shepherd's Moral: A. Kauffman ; s.c.p.,

I7i x 14I
Sentimental Journey : W.Harding ; s., 1 if" circle, bistre
Serenity : G. B. Cipriani ; s., 3J x 4, oval. B.M. 2 states
1st with name of a. and e. and pub. line. 1782,

only red
2nd with title and two-line quotation added, bistre
Sforzata e vinta, etc. : G. B. Cipriani; 1779, line,

5i x 8
Shakespeare : see under titles of each play
Shepherdess of the Alps : A. Kauffman; s., 10J x 13$,

oval, red. 1785
Shepherdess of the Alps : Loutherbourg, figures only

by Bartolozzi ; I2|" circle
Shore, Jane : nude half figure ; s., 3J x 4J, no frame

,, S. Harding ; s., 4J x 5J, with frame. 1790
Shrimp Girl: Hogarth; s., 6$ x 8, red. 1781
Siddons, Mrs.: H. Hone; s., 3 x 3J, oval. 1785
Simplicity (Miss Gwatkin) : Reynolds ; s., 7 x 8J. 1789
Sin and Death : see Milton

Six Overtures, by Borghi : Titlepage to ; set Borghi
,, Solos ,, ,, ,,

,, Quartettes, Titlepage to: Cipriani; line, 8J x 12
,, Sonatas „ ,, 8| x 7

Smyth, Lady, and Children: Reynolds; s., 9 x 11J,

bistre. 1789
Snuff Box (The) : Loutherbourg ; circle 13", blk.
Note — By Bartolozzi and Byrne

Socrates in Prison : A. Kauffman ; etching, 5 x 6J,
oval. B.M. 2 states. 1780

1st with names of a. and e. and pub. line, Ap. 27.

1780
2nd title, Socrates in etched letters, and pub.
line, Ap. 28
Song (The): Bunbury; stipple, nf" circle, in red.
B.M. 2 states

1st with pub. line (July 1st, 1782) only
2nd fully lettered and pub. line. July 10th, 1782
Sophia and Olivia: s., 5J x 7, oval. 1784, bistre

Sophia Matilda, Princess : P.Jean; s.,2joval2|. 1791
Specchio son l'acque, etc. : Zucarelli ; 17 x 13
Spencer, Countess: G. Pointz ; s., 4 x 4}, oval, red.

1782
Spencer, Lavinia, Countess: Reynolds; s., 6| x 8,

bistre. 1787
Spencer, George John, Earl : 3J x 5J. 1792

,, ,, s., 4§ x 7J (same design)

Spring : R. Westal ; s., 6J x 7J, bistre. 1790

,, Cipriani; s., 3J x 4J, oval, bistre. B.M. 2 st.
1st names of a. and e. only
2nd with e. 1. title and pub. line, 1783 added
Stanhope, Hon. Leicester: Reynolds; s.,6| x 8, bistre.

1789
Stanhope, Hon. Leicester : Reynolds ; s.c.p., 6} x 8
Steele, Sir Richard : J.Richardson; s., 3 x 4J. 1803
Summer : F. Wheatley ; s., 6J x 7j, bistre. 1789
,, Cipriani ; s., 3J x 4j, oval, ,, 1783
(3 Cupids) ; s., 7f x gj ,, 1800

Tancred and Erminia: G. B. Cipriani; 1784, stipple,

u| x 9, in red
Telemachus and Mentor in the Island of Calypso : A.

Kauffman; s., 14} x nj, bistre. 1786
Tempest (The) : Miranda. B. Meyer ; s., 3 x 3f , oval,

1779
Thais, see Miss Potts
"The Mourning Widow shows her dying Son": line,

2j x 4
Thomson's Seasons, Illus. to: Hamilton; "Youth

reclining on a Bank," s., 6J x 5. 1798
Thomson's Seasons, Illus. to: Hamilton; "Domestic

Scene," s , 6J x 5. 1793
Thomson's Seasons: see also " Delightful Task, &c"

"Flora"
Thornton, R. J.: Russell; s., 5 x 5|, " A View of Guy's
Hospital," by Woolnoth, after Elmes, 8J x 5J,
beneath. 1799
Thurlow, Edward Lord : Reynolds ; s., 12J x 17.
B.M states

1st, with names of a. and e., and pub. line 1782
2nd, ,, ,, and unlettered arms

3rd, the same with o.l. title, pub. line, April 15th,

1782, and arms completed
4th, the same with pub. line, May 25th, 1782
Tobias led by the Angel : C. Maratti ; e., 15 x 19!
Trade Cards : M. Bovi ; s., 4} x 3

,, W. Humphrey ; line, 4J x 3j

by B. West : T. Sandby ; e., £ x 7. 1791
Tragedy : Cipriani ; 3^ x 3$. Full length seated figure

with arm raised
Tragedy : Cipriani ; s., 3J x 4, oval. Half length
figure. 1784

68

List of Published Engravings

LIST OF PUBLISHED ENGRAVINGS— continued.

Triolus and Cressida : H. Tresham, R.A. ; 1794, etching,

17 x 11. B.M., 2 states
1st, p.b.l., bistre

2nd, with names of a. and e., and pub. line 1794, blk.
Triumph of Venus (with three Cupids) : G. B. Cipriani ;

line, 11x8. 1737
Triumph of Venus (with Cupids and Doves) : s., 10 x 7J,

oval, bistre
Triumph of Venus (with Sea gods, &c.), line, 8x3
Triumph of Virtue: Rev. Mr. Peters; s., 24J x i8|
Turkish Beauty : G. B. Cipriani ; s., 9 x 11, oval, red.

■775

Udney, Mrs. : Cosway ; s., 5J x 9
Uriel on a Sunbeam : see Milton

Van Dyck's Wife and Child : 6 x 7f. 1770
Van Juchen, Martin : A. Schouman ; e., 9$ x 12J
Venus presenting the Cestus to Juno ; G. B. Cipriani ;

s., 6J x 5J, 1784
Venus recommending Hymen to Cupid : Bartolozzi ; s.,

17 x nj. 1800
Venus surrounded by Cupids: G. B. Cipriani; s.,

6x5, oval
Venus : Bacon ; line, 4! x 7I
Venus and Adonis: Cosway; s., 6 x 7^, oval, 1778

,, ,, Barbieri;e., 15! x ioj

Venus attired by the Graces : G. B. Cipriani; s.,

oval. 1785
Venus Chiding Cupid : Sir J. Reynolds ; s., 8 x 9J, oval.

1784. B.M., 2 states
1st, with pub. line at bottom of sheet
2nd, ,, round ,, print

Venus attired by the Graces : Cipriani ; same subject, s.,

3i x 4J, oval. 1784
Venus Cupid and Satyr : Earlom after L. Giordano ;

line, i8£ x 134, 1767
Venus Sleeping : Carracci ; s., 13!
Verdiani, St., Kneeling before

Gabbiani ; line, 8J x [I. 1791
Vestris, the Dancer: E. Dance; s,, 12J x
Victory : Cipriani ; e., 9fc" square, 1787
Vigilance; Cipriani ; s., 3^ x 4, oval. B.M., 2 states
1st, names of a. and e., and pub. line, 1782
2nd, with e.l. title, and 6 line verse added
Virgil : A. Kauffman ; s., 13 x 10J, oval

.7* x 5l.

x gi, oval,
a Crucifix

1785
A. D.

12$. 1781

Virgin and Child : Guercino; s., 7} x 11 J

,, Guido Reni ; s., 10J x 8J, red, 1767

A ,. line, 6J x 7}

,, Parmigianino ,, 6 x 8£
Virgin and Infant Jesus, with the Eternal Father ; B.

Castiglione ; e., 15 x io4
Virgin in kneeling posture : Dom Zampieri : N. Vanni,

del ; line, 8} x 8
Vulcan and Venus ; G. B. Cipriani ; line, 17! x 4, 1777

Wales, Piince and Princess of: H. D. Janory ; s.,

2f x 3j, oval
Wallis, Miss: s., 12J x 19
Watts, Isaac : 2} x 4I
" Weep, Thaly, Weep " : see Foote
Wentwortb, Lord: Holbein ; s., 11 x 12J, bistre. 1793
Wilmot, Sir J. E. : s., 6j x 8

Winter : Cipriani ; s., 3J x 4J, oval. B.M., 2 states
1st, with names of a. and e., and pub. line, 1783
2nd, with title and dedication added
Winter: F. Wheatley ; s., 6| x i\, bistre, 1789
,, (3 Cupids) : s., 8 x g\, bistre. 1800
,, Cipriani (4 women and 2 children) : s., circle
10", in red
Winter's Tale, Act 2, Sc. 3 : W. Hamilton ; etching,

6J x 8J
Wishart, Sir James: s., 3 x 3 J
Woide, Dr. C. G. : s., 3! x 4^, oval. 1791
Woman taken in Adultery: A. Caracci ; line, 15J x laj.

1787
Woman with Child in her Arms and Boy by her Side :

M. Angelo ; s., 9 x 13
Women (two), playing with Child and offering it Grapes :

s., 12" circle
Woollet, Wm. : T. Hearne ; e., 3 x 3§ , oval. 1795
Wynn, Sir Richard : C. Janssens ; 4I x 5J

Yorke, Philip : Reynolds ; s., 7J x 9J, bistre. 1788
Young Woman kneeling before Cupid, with basket : F.

Vieira ; Frontispiece to " The Gardens ; A Poem,"

line, 6\ x 3J
Youth : R. Cosway; s.c.p., 2§ x 2$

Zara (Mrs. Loutherbourg), s., 5J x 6J, oval, bistre
Zephyrus : Colibert ; s., 5J x 7 J, oval, bistre. 1788
Zeuxis composing the Picture of Juno : A. Kauffman ;

e., 15 x 1 1 J, red. 1785
Zoraida: A. Kauffman ; s., 3 x 3J, oval, bistre. 1778

Abbreviations: — s., stipple; e., etching; c.p., colour-print ; p.b.l., proof before
letter title; i.l.t., etched letter title; a. and e., artist and engraver; pub. line.,
ded., dedication ; B.M., British Museum.

The measurements are in inches, the width first.

letters; o.l.t., open
publication line ;

69

APPENDIX II.

List of Engravings by Bartolozzi sold
by Auction from 1901-1907.

Artist.

Title.

Albano ...

Four Elements, The...

An sell

English and French

Rooms

Appiani ...

Buonaparte, Napoleon

Dressing

Barker Woodman, The

Bartolozzi, F. ... Cupid and Psyche, Cupid and
Hymen

Market of Love, The

Wallis, Miss

Benwell, J. H. ... Jemmy's Farewell; Jemmy's Return
Orange Girl, The

St. Giles's Beauty, A ; Prudence

and Beauty

St. Giles's Beauty, A

St. James's Beauty, A

St. James's Beauty, A ; St. Giles's
Beauty, A

Serena

Browne, M. ... Buller, Sir Francis

Bunbury, H. ... Auld Robin Gray

Helena

Love and Honour

Mother and Children

Mouse's Petition ; Blind Beggar ...

Mouse's Petition ; and Marion

Cipriani, G. B. ... Adelaide

Bacchante, A

Beauty

Ceres; and Pomona

,.. Comedy ; and Tragedy

Comic Muse, The

Cupid ; and Psyche

Cupids at Play; and Children at

Play

Cupids Instruction ; and Venus

with a Mirror ; Nymphs Bathing ;

and Venus Sleeping

Damon and Musidora ; and Celadon

and Amelia

Remarks,
c.p., set of 4, circles

s.p.b.l., in bistre

s.o.l.p., brown

s.o.l.p.

c-P

c.p., pair

pair

s.p.b.l., and the etching

o.l. p

s., in bistre, pair

s.p.b.l

s.p.b.l

s.p.b.l

s. pair, and another

s.p.b.l., in red

stipple, p.b.l., in black...

c-P

stipple, in red

c. p., pair.withuntrimmed margins 1903

pair

pair, c.p

pair, in bistre

pair, in red

pair, in red

p.b.l.

PP- .

in red

c.p., proof

p.b.l.

fine I., c.p., p.b.t.

c-P-

c.p., pair

p.b.l., in red

c-P-

C-P: ,

s. in red

e.l.p.

c.p., p.b.l.

pair

in red

p.b.l.
p.bl., in red

Year of

Price.

Sale.

£ s.

(l

t9°3 ■

. 42 0

0

1907 .

• 32 II

0

1902 .

. 21 O

0

1907 .

• 9 9

0

1906 .

2 0

0

1905 .

. 26 5

0

1907 .

• 1 15

0

1907 .

• 1 5

0

1902 .

• 7 17

6

1902 .

7 10

0

1907 .

• 13 13

0

1906 .

• 7 17

6

1902 .

6 10

0

1904 .

. 63 0

0

1906 .

. 6 16

6

1906 .

. 6 0

0

1907 .

■ 7 17

6

1906 .

■ 5 5

0

s 1903 ■

• 135 0

0

1903 .

• 35 M

0

1905 .

. 28 7

0

1903 .

. 26 5

0

1907 .

■ 15 15

0

1907 .

• 13 13

0

1907 .

• 5 0

0

1907 .

• 4 5

0

1906 .

• 5 5

0

1906 .

. 3 10

0

1907 .

• 4 4

0

1907 .

• 9 5

0

1907 .

. 12 1

6

1905 .

. 50 8

0

1907 .

• 9 19

6

1906 .

. 8 8

0

igo6 .

. 2 15

0

1907 .

. 11 11

0

1907 .

1 0

0

1907 .

. 9 0

a

1902 .

. 29 8

0

1902 .

• 5 0

0

1907 ..

. 4 0

0

1902 ..

• 3 0

0

70

List of Engravings

LIST OF ENGRAVINGS SOLD BY AUCTION— continued.

Artist.
Cipriani, G. B.

Colibert ...
Cosway, R.

Title.

Edward IV., Dowager Queen of;
Dukes of Northumberland and
Suffolk, with Lady Jane Gray ...

Elements, The

Fortune and Prosperity, Nymphs

Bathing

Fortune ; and Prosperity

Harmony ; Prudence ; Meekness ;

and Beauty

Hebe ; a Bacchante ; and Comedy...
Jupiter and Juno, Venus and Juno
Jupiter and Juno on Mount Ida,

and Venus presenting the Cestus

Lais ; Lamia

Love ; Liberty ; Harmony ;

Sincerity ; and Felicity

Love Repulsed ; and Companion ...
•> ,t •••

Lovers' Meeting, The

Music ; and Painting

Nymphs Bathing ; and Nymphs

after Bathing

Nymphs Bathing ; Nymphs going

to Bathe

Nymph of Immortality

pi it ti ••• ...

Nymph Sleeping ; and Venus and

Cupid ,

Perseus; and Andromeda

Power of Beauty
Power of Love ;
Beauty

and Power of

Prudence ; and Beauty

Prudence and Beauty ; and Genius

and Beauty
Sacrifice to Cupid ; and The

Triumph of Cupid and Love ...
Sculpture ; Painting ; Music ;

History ...

Spring ; Summer ; Autumn ;

Winter

ii »i it •••

Tragedy and Comedy

Virtue ; Prudence ; Honour

Wisdom

Flora ; and Zephyrus

Abington, Mrs.

Baldwin, Mrs.
Bulkeley Viscountess

Charlotte, Princess, and Child
Cosway, Maria

Fair Moralist, The

Fair Moralist, The, and Her Pupil
(Mrs. Harding and Son)

Remarks.

c.p., pair ...
proofs, set of 4

in red

c.p., pair ...
proofs, in red

set of 4
proofs
c.p., pair ...

in red
c.p., pair ...

proofs, in red

c.p., pair ...

o.l. p., pair

c.p.

c.p., pair ...

p.b.l., in red

p.b.l., in red

in red

p.b., the verses

Year of
Sale.

1902
1907
1907
1902

1907
1907

1907
1907
1901

1907
1902

1907
1906
1902
1906
1907

1907

1902
1907
1907

Price.
£ s. d.

p.b.l 1907

pair, proofs in bistre and the

etchings

cp

c.p., pair

c.p., pair

o.l.p., pair
proof in red, pair
c.p., pair

p.b.l., in red

proofs, in red

p.b.l., set of 4 ...

p.b.l., set of 4 ...

set of 4

o.l.p.

c-P

cp

p.b.l., in bistre, pair
c.p., margin cut...
p.b.l., in bistre ...
p.b.l., in bistre ...
proof, in red
proof, in bistre ...

fine

p.b.l

c-P

c-P

in brown

c-P

c-P

o.l.p., in brown ...

1902
1906

1907
1907
1902
1907
1906

1907

1907

1902

1907
1902
1902
1902
1906
1907
1902
1902
1902
1907
1902
1907
1906
1907
1907
1907
1905

1901
1902

7 7
6 6
4 10

7 7
2 7

2 10 o

200

13 10 o

550

24 o o

5 15 0
9 19 6

2 12 6
260

13 15 o

12 12 o

4 14 6
220
220

1 10 o

3 5o

2 18 o

15 o

10 10

3 13
2 2

13 a

5 5

16 16

5 10

15 15

5 10
2 12

4 4

11 11

6 6
42 o

14 14

7 o
4 10

11 o

8 o

4 4

5 5
11 11

2 4
68 5

64 o o
16 5 o

71

Francesco Bartolozzi, R.A-

LIST OF ENGRAVINGS SOLD BY AUCTION— continued

Artist.

Cosway, R.

Cosway

Cotes, F.
Coypel

Dance, N.
Downman, J.

Engleheart, G. ...
Gainsborough, T.

■ • *•
Gilpin

Guttenbrunn

I, »••

Hamilton, W. ...

Title.

Fair Moralist (Mrs. Baldwin) and
her Pupil

Fair Moralist and her Pupil

Hardinge, Mrs., and Son

Infancy (Miss Ponsonby)

Love and Innocence

Abington.Mrs., "Crowning Shakes-
peare"

Affection ; and Instruction

Hours, The

Udney, Mrs

Venus and Adonis ; and Bathing,
after Cipriani

Wales, Caroline, Princess of, and
Child

Beauclerk, Lady Catherine

Zephyr and Flora

Zephyr and Flora, Vertumne and
Pomone

Clive, Lord

Devonshire, Duchess of

Devonshire, Duchess of ; and Lady

Duncannon

Duncannon, Lady

Devonshire, Duchess of ; Duchess
of Richmond : Lady Duncannon ;
and Mrs. Siddons

Devonshire, Duchess of ; Lady
Duncannon ; Mrs. Siddons ; and
Miss Farren

Gibson, Mrs

Hobbinol and Ganderetta ; and
Lavinia

Lavinia

Happy Meeting and The Benevolent

Lady

Apollo and the Muses

Ball, The ; and The Pincushion ...
Birdcage, The ; and The Mousetrap

Children Bathing

Children Playing with a Bird (by

Bartolozzi) ; and another
Hot Cockles ; Hunt the Slipper ;

and Swinging

Hot Cockles ; and Hunt the

Slipper

Maternal Affection

Maternal Love

Mischievous Sport ; and Sportive

Innocence ...
Months, The

Remarks.

C-P

c.p.

c-P

c-P

proof

c.p., pair

c-P

p.b.l

proof, in red, pair

p.b.l

in red

c.p.

c.p., pair...

p.b.l

stipple

c-P

c-P

c-P

o.l. p

c.p.,

c.p.

p.b.l

c.p.

c.p.

pair ...
, in brown

tinned.

Year of

Price.

Sale.

£ s.

d.

IQ07 •

■ 14 M

0

1907 •

• 12 5

0

I907 •

. 31 10

0

1907 •

2 0

0

1907 •

. 3 10

0

1907 •

■ 8 5

0

1902 .

. 11 11

0 .

... 1907 .

. 6 0

0

1907 •

• 3 13

6

... 1907 .

2 0

0

1902 .

12 12

0

1907 •

1 10

0

... 1907 ..

. 27 6

0

1906 .

. 14 0

0

... 1904 ..

. 14 10

0

... 1906 ..

. 11 11

6

... 1906 ..

. 50 8

0

... 1902 ..

• 19 19

0

... 1902 ..

. 13 2

6

... 1906 ..

. 11 11

0

... 1902 ..

. 88 4

0

... 1907 ..

. 31 10

0

... 1902 ..

■ 3° 0

0

... 1904 ••

. 29 8

0

... 1902 ..

. 11 11

0

By Bartolozzi and T. Burke

c.p., set of 4, by Bartolozzi and
Tompkins

1907

p.b.l.

c.p., a pair, by Bartolozzi and

Tompkins

c-P-

o.l. p

c-P

c-P

c.p., pair

p.b.l

c.p., oval

c-P

in bistre

p.b.l

c-P

c-P

cp. _ «.

c.p., set of 12 (by Bartolozzi and
Gardiner)

25 4 o

1904 .

.. 100

16

0

1907 .

• • 3

10

0

1903 .
1905 .

.. 21

•• 44

1
2

0

0

1907 .
1903 .

1906 .

•• 3

•• 17
.. 9

3

17
9

0
0
0

1907 .
1907

1902 .

•• 3
•• 5
.. 19

13
5
0

6
O

0

1907 .

5

15

6

1902 .

.. 14

r4

0

1907 .

1907 .
1907 .

.. 11
.. 16
.. 26

0

16
5

0
0
0

1907 .

•■ 32

11

0

1907 .

.. 220

10

0

72

List of Engravings

LIST OF ENGRAVINGS SOLD BY AUCTION— continued.

Artist.
Hamilton, W.

Harding, S.
Harding, W.

Hoppner, j

Isabey
Kauffman, A.

Title.
Months, The ...

July;

Months, The, " May ; June ;

and September"

Months, The, "June; September;

October ; and December "
Months, The, "June; July; and

December"

Months, The, "January; and

December"

Months, The, "May; and Sep-
tember"

Months, The, "June"

"December "

Morning and Evening

Playing at Hot Cockles ; and
Thread the Needle

Playing at Marbles ; Thread the
Needle ; Hot Cockles ; and Hunt
the Slipper

Seasons, The

Thread the Needle ; and Hot
Cockles

Rural Innocence

Libertine Reclaimed ; and The
Companion

Prelude to Matrimony ;
Libertine Reclaimed

Sword ; and The Dance

Abercombie, Sir R

and

Dundas, Lady Jane

Grenville, Lady

Napoleon at Malmaison

Bacchus teaching the Nymphs ;
and Telemachus in grief for the
sufferings of Ulysses (By J. M.
Delattre)

Cleone

Remarks.

c. p., set of 12 (by Bartolozzi and

Gardiner)

c.p., set of 12 (by Bartolozzi and

Gardiner)

stipple, set of 12 (by Bartolozzi

and Gardiner)

in bistre, set of 12, ovals (by

Bartolozzi and Gardiner) ...
c.p., set of I2(by Bartolozzi and

Gardiner)

set of 12, of which 6 are proofs

(by Bartolozzi and Gardiner)
set of 12, including 1 proof

before letter, and 6 open letter

proofs

in bistre, set of 12

set of 12 (By Bartolozzi and

Gardiner)

set of 12 (By Bartolozzi and

Gardiner)

set of 11, November missing,

(By Bartolozzi and Gardiner)

c.p., set of 4

c.p., set of 4

set of three proofs

c.p., ovals, pair

c.p., pair

pair

p.b.l

p.b.l., in bistre

c.p., oval

c.p., o.l. p.

c.p., pair

c.p., pair

cp.

set of 4
set of 4

proofs
c.p.

p.b.l., pair

c.p., pair

p.b.l.

o.l. p., in brown

e.l.p.
o.l. p.

b.l., stipple
p.b.l.

p.b.l.

Year of
Sale.

Price.
£ 8- d.

1906

• 173 5

0

1905 .

. 162 15

0

1901

• 152 5

0

1903 ■

. 102 18

0

1904 .

• 99 15

0

1902 .

. 92 8

0

1902 .
1906 .

.. 51 19
.. 50 0

0

0

1906 .

■• 33 12

0

1907 .

.. 25 4

0

1903 .

.. 99 10

0

1905 .

■■ 53 "

0

1904 .

•• 37 16

0

1907 .

.. 19 19

0

1903 .
1902

21 0
.. 19 8

0
6

1907 .
1902 .

1902 .
1907 .

1903 .
1905 .
1905 .

.. 7 17

.. 12 12

11 11

•95
.. 22 1
• • 5° 8
•• 38 17

6
O
0

0
0

0

0

1903

1907

24 3

1907 .

.. 17 6

6

1902 .

.. 168 0

0

1907 .

.. 8 18

6

1902 .

■ 17 17

0

1907 .

• 5 15

6

1902 .

• 35 0

0

1907 .

• 3 3

0

1906 .

2 10

0

1906 .

1 6

0

1902 .

• 15 0

0

1907 .

6 6

0

1902 .

16 0

0

1907 .

• 9 19

6

c.p., pair
in red

1907
1907

9 10 o

35 o o

660

73

Francesco Bartolozzi, R.A.

LIST OF ENGRAVINGS SOLD BY AUCTION— continued.

Artist.
Kauffman, A. ..

Kauffman and
Cipriani

Lawrence, Sir T.

Title.

Diana and Nymph ; and Damon
and Delia

Eurydice

Fancy's Sweetest Child ; Shakes-
peare's Child

Fancy's Sweetest Child

Fatima and Cossucia ; and Zoraida

Girl Dancing ; and Girl with
Tambourine

Griselda ; and The Shepherdess of
the Alps

Hammond, Louisa

Horace; and Virgil

Judgment of Paris

Modesty; and Vanity

Nymphs after Bathing, and Bac-
chanalians

Nymph Dancing, Rosalina and

Celia

Paris and Aenone ; and Damon

and Delia ...
Paulus iEmilius ; and Cleopatra

and Cossucia ...

Rinaldo and Armida ; and Morte di

Clorinda

Rinaldo and Armida ; and the

Death of Clorinda
Rinaldo and Armida ; and the

Death of Clorinda

Seasons, The

Selim, or the Shepherd's Moral ...

Tancred and Erminia ; Tancred

and Clorinda

Telemachus Grieving for Ulysses ;

Bacchus amid Solitary Rocks ...
Venus attired by the Graces ; and

The Judgment of Paris

Venus attired by the Graces ; and

The Judgment of Paris

Venus attired by the Graces

Venus Presenting the Cestus
Wisdom ; and Religion

Griselda ; and Adelaide

Amelia, " Princess of England '

»i ft <i
Derby (Countess of)

Remarks.

p.b.l., in red

p., in bister

p., in red

p.b.l., in red

p.b.l., in red

p.b.l., in brown, pair

p., in red, pair

in red

p.b.l., in bistre

p.b.l., in red

in red

c.p., a pair

p.b.l., in bistre

oval, in brown, with full margin
p.b.l

c.p., pair

p.b.l., in red

p.b.l., in red

proofs, in red

o.l. p., in red

proofs

p.bl

c.p., set of 4

in bistre

in red

c.p., pair

c.p., pair

c.p., pair

oval, in red, with full margin.

e.l.p., in bistre

cp

cp- ••

oval, in red

in red

oval, in red, large margins

in red

proof, in red

C-P-

oval, in brown

c.p., p.b.l.

in bistre

c.p., pair of ovals, framed

cp

o.l. p

c-P

c.P

c.p

c.p., creased and torn ...

Year of
Sale.

1907
1907

1906
1906
1907

1906

1907
1907
1902
1902
1902
1904
1902
1907
1907

1905
1907
1902
1907
1907
1902

1902

1903
1902
1906

1907

1903
1005

!9°5
1907
1902
1903
1902
1902
1903
1904
1902
1907
1902
1902
1902
1907

1907

1901
1906
1907
1903
1905
1907
1902
1907

Price.

£ s. d.

10 10 o

7 17 6

12 12 o

8 18 6
7 10 o

12 15 o

16 16
15 15

11 o
9 19

5 °
*5 4

12 12
7 o

6 6

3 15
3° 9

40 o

28 7
27 o

24 3

23 12

23 2

23 o

21 1

ig 10

15 4

13 °

9 9

9 o

11 11

1 14

13 o

45 °

4 4

178 10

54 12
42 o
21 o

'5 5
6 16

20 9 6
10 10 o

4 4°

2 10 o

14 14 o

600

30 9 o

74

List of Engravings

LIST OF ENGRAVINGS SOLD BY AUCTION- continued.

Artist.
Lawrence, Sir T.

Title.

Derby (Countess of)

Farren, Miss (Countess of Derby).

Farren, Miss

Remarks

c-P

c.p., untrimmed margin, record
price for Bartolozzi print ...

whole length, proof with title in
open-etched letters, and ad-
dress of J. Jeffryes only,
framed

proof

c-P

c-P

c.p., ist state

c-P

stipple, whole length, p.b.l., in

bistre

p.b.l., whole length, in brown

c-P

p.b.l

p.b., title

p.b.l., in bistre

stipple, in bistre

p.b.l

in bistre

p.b.l

in bistre ...

in black

p.b.l

before alteration of inscription
c-P

Year of
Sale.

1907
1907

igo2
1902
1902

1905
1904
1901
1903

1905
1902
1902
1906
1904
1902
1907
1903
1902
1905
1903
1902
1901
1904
1902

1905
1903
1904
1907

1903
1904
1907
1904
1905

Price.
£ s. d.

3 3°
609 o o

63 o
42 o
30 9
183 15
157 10
144 o
107 2

79 16

70 o

69 6

63 o

58 16

52 10

39 18

37 16

36 15

28 7

7
o

5
2
o
I
o
o
o

21 O
20 9
16
II

28
28
26
23
23
22
21
21
21

5
o

9 19

Nixon, J. ... Devonshire, Georgina, Duchess of

Opie Edwin and Emma

Ramberg ... Sorrows of Werter

,, ... Squire Thornhill and Olivia and the

companion

Reynolds, Sir J. Affectionate Brothers, The, Peniston

Lamb Children

,, Affectionate Brothers, The

,, Annette

,, Ashburton, Lord

>■ ,» 1,

,, Bartolozzi, Francis ...

,, Bingham, The Hon. Miss

in brown 1906 ... 4 12 6

cp- 1907 ••• 3 13 6

proofs in red, a pair 1907 ... 220

proofs in bistre 1907 ... 990

c.p., framed 1902 ... 44 2 o

c.p. 1907 ... 19 19 o

in bistre 1906 ... 880

e.l.p 1907 ... 11 o 6

fine proof 1907 ... 650

in bistre — after Sir J. Reynolds

by Marcuard 1907 ... 2 2

c.p. 1906 ... 127 10

c.p. 1902 ... 119 14

c.p. 1903 ... 63 o

c.p. igo6 ... 58 16

p.b.l., in bistre 1906 ... 57 15

brilliant p.b.l., in brown ... 1903 ... 33 o

c.p. 1905 ... 30 9

c.p. 1906 ... 29 o

c.p. 1907 ... 21 o

stipple-p.b.l., in red 1904 ... 18 18

2nd state, in bistre 1902 ... 15 15

proof, in red 1902 ... 15 4

75

Francesco Barto/ozzi, R.A.

LIST OF ENGRAVINGS SOLD BY AUCTION— continued.

Artist.
Reynolds, Sir J.

Title.
Bingham, The Hon. Miss

Bingham, The Hon. Miss; and
Countess Spencer

Burghersh, Lord

Burke, Edmund

Cottagers, The

,, ,, (Mrs. Macklin and

Family)

Foster, Lady Elizabeth

Girl with Kitten

Girl with Kitten ; and Simplicity ...
Grantham, Lord, and his brothers

Gwatkin, Miss

Harrington, Jane, Countess of, and
children

o.l.p., stipple

proof

in brown, large margin
in bistre

Remarks,
stipple
c.p.
c.p.

in bistre ...
in red

c.p., pair ...

c.p.

c.p.

c.p.

c.p.

c.p.

proof before arms, pair
c.p., stipple
o.l.p

p.b.l., in brown ..
c.p., full margin..
c-P

o.l.p

c.p.

c.p.,

c.p.

c.p.

c.p.

c.p.

c.p.

c.p.

c.p.

p.b.l.,

p.b.t.

p.b.a. '.'.'. '.'.'. '.'.'. '.'.'.

p.b.t

c-P

C-P

in bistre

C-P

c-P

c-P

p.b.l., in brown, large margin
with the inscription

c-P- ». ■ •••

early imprint, in brown, mended

c-P

p.b.l

c-P

c-P

c-P

o.l.p., in bistre...

c.p., pair

p.b.l., in bistre

in bistre

c-P

cp

c-P

ist state, b.l

c-P

c-P

ist published state

c.p., stipple

ist state

CP

Year of

Sale.

1902

I905
1906
1907
1907

1902

I903
1907
1902

1903
1906
1907

I905
1902
1902
1907
1906
1901
1904

1907
1907
1902

I905
1902
1903
. 1905
1902
1901
1902
1907
1906
I902
I9t>5
1903
1903

1905
1902
1903

I903
1904

1907
1907
1906
1906
1905
1902
1902
1907
1907
1906
1903
1907
1907
1902

1902
1906
1906
1902
1902
1903
1906
1903
1907
1903

Price.
£ s.
13 10
10 10
10 10
4 14
3 10

3

160
126
126
92
90
86
79
75
73
7i
56
52
49
43
42
36
35
33
32
26

r3 5

13 2

6 6

2 15
17 10
11 o

9
5
5
4
21
26

3 13

15 15

147 o

94 10
90 o
68 5
65 o

54 12
42 o
41 o
34 13
33 12

138 o o

126 6 o

77 14 °

75 o o

58 16 o

40 19 o

25 4 °

12 1 6

52 10 o

17 17 o

2 12 6

12 o o

36 15 o

9 19 6

76

List of Engravings

LIST OF ENGRAVINGS SOLD BY AUCTION— continued.

Artist. Title.

Reynolds, Sir].... Harrington, Jane, Countess of, and
children

Harrington, Jane, Countess of ;
Lord Viscount Petersham ; and
The Hon. Leicester Stanhope ...

Kauffman, Angelica ...

Lamb, Peniston, and his brothers...

Lesbia

Mansfield, William, Earl of

Potts, Miss Emily, as Thais

Simplicity (Mrs. Gwatkin) .

Smyth, Lady, and

Children

Smyth, Lady, and Children ; and
Jane, Countess of Harrington,

and Children ...

ii )i ... ...

Spencer, Countess

Remarks.

proof, in bistre

in bistre ...

ist proof ...

in bistre ...

2nd state ...
c.p.
stipple

stipple, 2nd state

in red

ist state, b.l.

ist published state

cp

c.p., stipple

p.b.l

p.b.l

p.b.l.

o.l.p., in brown ...

o.l. p., in brown ...

o.l.p

o.l.p., in brown ...
stipple, ist published state
c.p., ist state
cp

ist state, b.l.

c-P

c-P

c.p., framed
p.b.l., in brown ...

ist state

c-P

ist state

stipple

stipple, proof, in bistre

c.p., p.b.l.

ist published state, full margin

in bistre

with wide margin

stipple

in brown ...

stipple, in bistre...

in bistre

2nd state

c.p., pair

stipple, in bistie...

c-P

c-P

c-P

p.b.l

p.b.l, in bistre ...

c-P

stipple, ist pub. state, in red
ist published state
c-P

if ear of

Jrice.

Sale.

£

s.

d

1902 .

■ 27

6

0

1904 .

• 23

10

0

1903 .

■ 23

2

0

1906 .

• 23

0

0

1906 .

.. 18

7

6

1907 .

. 18

7

6

1902 .

■ 15

0

0

1902 .

. 11

15

0

1902

. 22

to

0

1902 .

. 6

0

0

1902 .

• 37

16

0

1903 .

• 32

11

0

1903 .

■ 35

4

0

1902 .

• 3°

9

0

1907 .

■ 13

10

0

1906 .

. 11

10

0

1906 .

■ 3

0

0

1906 .

• 32

12

0

1906 .

• 29

10

0

1902 .

• 24

0

0

1907 .

. 24

0

0

1906 .

.. 23

0

0

1904 .

. 16

16

0

1906 .

• 5°

0

0

1901 .

• 19

8

6

1902 .

. 12

12

0

1902 .

. 84

0

0

1902 .

■ 71

8

0

1905 .

• 65

2

0

1902 .

• 63

0

0

1902 .

. 62

0

0

1907 .

• 57

15

0

I905 ■

• 54

12

0

1903 .

. 40

0

0

1902 .

• 30

9

0

1903 .

. 28

7

0

1903 •

. 28

0

0

1905 .

• 27

6

0

1906 .

. 26

5

0

1904 .

21

0

0

1903 .

20

9

6

1902 .

• 19

19

0

1905 .

• 17

5

0

1902 .

. 16

5

0

1906 .

• 15

'5

0

1907 .

• 15

4

0

1906 .

• 9

0

0

1902 .

. 8

0

0

1904 .

. 200

0

0

1905 .

• 45

3

0

1903 .

. no

5

0

1905 .

. 88

4

0

1903 .

• 54

12

0

1902

■ 52

10

0

1902

■ 34

'3

0

1906 .

• 30

0

0

1904 .

• 29

8

0

1907 .

• 29

8

0

1904 .

. 28

7

0

77

Francesco Bartolozzi, R A.

Artist.
Reynolds, Sir J.

Romney
Roslin

LIST OF ENGRAVINGS SOLD BY AUCTION— continued.

Title.
Spencer, Countess

Remarks,
in bistre ...
ist state ...

Sprightliness (Master Stanhope)
Stanhope, The Hon. Leicester

Stanhope, Master Leicester

Stanhope, Mr. Leicester ...
Stanhope, Master Leicester
Thurlow, Lord

Venus and Cupid
Venus Chiding Cupid

Yorke, Mr.' Philip"

Crouch, Ann

Marie Christine, Queen

proof before the arms

2nd state

in bistre

in brown

in red

in brown

c.p., ist state

c-P

cp

c.p., cut

c-P

c-P

in b stre

c-P

p.b.l

p.b.l

p.b.l

o.l.p.

cp

in red

in red

p.b.l.

p.b.l., in red
p.b.l., in red
o.l.p., in red

if ear of

Price.

Sale.

£ s.

d

1902

. 18 18

0

1904 .

. 18 7

6

1906 .

. 12 15

CI

1902 ..

12 1

0

1905 ..

. 10 10

0

1907 .

. 10 10

0

1901 .

• 9 19

6

1902 ..

• 7 17

6

1907 .

• 7 17

6

igo6 .

7 10

o-

1906 .

. 40 0

i)

1902 .

. 76 0

0

1904 .

■ 44 0

<>

1905 .

. 22 10

0

1906 .

. 21 0

0

1902 .

• 19 15

0

1907 ..

• 14 3

C

1904 ..

. 12 5

0

1902 .

• 13 2

6

1907 ..

. 12 10

0

1906 ..

. 8 0

0

1906 ..

. 6 6

0

1906 ..

10 10

0

1902 ..

• 9 19

6

1902 ..

6 0

0

1906 ..

. 6 16

6

1907 ..

. 8 8

0

1902 ..

. 40 0

0

1902 ..

• 3° 15

0

1906 ..

■ 3° 9

0

Shelley ... Heathcote, Lady, and Child ;
Signora Rosalba ; and The Marl-
borough Family

Smith, J. R. ... Lecture on Gadding

Tompkins, P. W. Affection and Innocence

He Sleeps

Fool of Quality (Illustrations to the)

Walker, R. ... Oliver Cromwell

Walton, H. ... Young Maid ; and The Old Sailor...

West, B. ... Clarence, Duke of

Westall (see Wheatley)

Wheatley, F. ... Country Girl going Reaping ; and
the Watercress Girl

,, ,, ... Going to Market ; and The Return
from Market

,, ,, ... Newcastle, Duke of (Return from
Shooting)

all proofs

c.p.

c.p.

e.l.p.

c.p.

c.p.

o.l.p., in bistre

in brown ...

c-P

proof, in bistre

c.p.

pair

o.l.p.
in bistre
p.b.l.

p.b.l.

c.p., pair

c.p.
c.p.
c.p.
c.p.

1907 .

• 4 14

6

1902 .

. 58 16

0

1906 .

■ 45 0

0

1907 .

• 38 7

0

1905 .

■ 36 15

0

1904 .

. 29 8

0

1902 .

. 28 7

0

1907 .

■ 14 r5

0

1902 .

. 28 0

0

1907 .

• 5 5

0

1904 .

27 6

0

1907 .

1 n

6

1907 .

. 9 6

0

1902 .

12 1

6

1906 .

• 4 4

0

1907 .

• 13 2

6

1907 •.

3 3

0

1907 .

. 31 10

0

1907 .

. 42 2

0

1904 ..

. 26 5

0

1902 .

• 17 17

0

1904 ..

. 16 16

0

1907 .

• 3 3

0

78

List of Engravings

LIST OF ENGRAVINGS SOLD BY AUCTION— continued.

Artist.
Wheatley, F. .
Wheatley and
Hamilton

Wheatley,
Westall

Wheatley,

F. and

Title.
Return from Shooting

Return from Shooting ; with Com-
panion, by A. Cardon

Scenes from Faust

Seasons, The

,, (Summer ; and Winter ;

and Autumn)

Seasons, The (Summer, and Winter)

(Summer)
(Winter)
Show, The ; and The Fair

Remarks.

c.p.

c.p., pair ...
c.p., pair ...
c.p., pair ...

p.b.l., set of 4
p.b.l., set of 4
p.b.l., set of 4
o.p.l., set of 4
p.b.l., set of 4
in bistre, set of

all p.b.l., very fine

c.p., two

p.b.t., c.p., pair ...

c.p.

p.b.l., brilliant impression in
brown, full untrimmed margins

cp.

p.b.l., brilliant impression in
brown, full untrimmed margins

c.p., pair

o.l.p

Year of

Price.

Sale.

£

s.

d

1905 ..

■ 25

4

0

1907 ..

. 84

0

0

1902 ..

• 50

0

0

1902 ..

• 17

17

0

1906 ..

. 86

0

0

1902 ..

• 55

■3

0

1906 ..

• 50

i

0

1902 ..

• 33

12

0

I903 ••

■ 24

3

0

1907 ..

. 18

10

0

1906 ..

. 18

7

6

1903 ..

• 5°

0

0

1902 ..

■ 183

5

0

1905 ..

• 9i

7

0

1907 ..

• 13

13

0

1904 ..

• 67

4

0

1903 ..

• 34

0

0

1902 ..

• 50

8

0

1903 ..

• 35

0

0

1902 ..

• 43

1

0

1907 ..

• 5

0

0

Abbreviations:— c.p., colourprint ; s., stipple; p.b.l., proof before letters ; e.l.p., etched letter proof ;
p.b.t., proof before the title ; o.l.p., open letter proof.

Note. — The description in each case is that given in the auctioneers' catalogue.

79

CONTENTS.

PAGE.

Francesco Bartolozzi, R.A. A Biographical Sketch - v- — xlvii.

Bibliography of Books relating to Bartolozzi - - xlviii. — xlix.

Illustrations ,,,.-»»- 1 56
List of Published Engravings by Bartolozzi- - - - 57 — 69

List of Engravings by Bartolozzi sold by Auction from 1901-1907 70—79

80

LIST OF ILLUSTRATIONS.

Colourplate. Frontispiece.

Facing page

Francesco Bartolozzi. By R. Marcuard after Sir Joshua Reynolds
Venus Surrounded by Cupids. G. B. Cipriani. Colourplate

From a print in the possession of Mr. Frink Sabin.

The Girl and Kitten. Sir Joshua Reynolds. Colourplate

From a print in the possession of Mr. Frank Sabin.

The Jealousy of Lord Darnley. G. B. Cipriani. Colourplate

From a print in the possession of the Rev. T. Elphege Power, O.S.B.

Ceres. Drawn and engraved by Bartolozzi. Colourplate

The Mouse's Petition. Colourplate. From a print in the possession of Mr. Frank Sabin

Bacchus and Ariadne. G. B. Cipriani. Colourplate -

From a print in the possession of Messrs. J. Rimell & Son.
Summer. F. Wheatley. Colourplate. From a print in the possession of Mr. Frank Sabin

The Fair. Wheatley. Colourplate

Youth. R. Cosway. Colourplate -

Market of Love. Colourplate -

Hon. Mr. Leicester Stanhope. Sir Joshua Reynolds. Colourplate

Innocence Taught by Love and Friendship. G. B. Cipriani. Colourplate

Simplicity. Sir Joshua Reynolds. Colourplate

Playing at Marbles. W. Hamilton. Colourplate

Cupids. Lady Diana Beauclerk. Colourplate

Conjugal Love. G. B. Cipriani. Colourplate

Cupids. Lady Diana Beauclerk. Colourplate

Lord Burghersh. Sir Joshua Reynolds. Colourplate

The Triumph of Virtue. Rev. Mr. Peters. Colourplate

From a print in the possession of Mr. B. Jacobson.

Sportive Innocence. W. Hamilton. Colourplate
A St. James's Beauty. J. H. Benwell. Colourplate

Beauty. G. B. Cipriani. From a print in the possession of Mr. Frank Sabin -

The Right Honourable William Pitt. Gainsborough Dupont

By permission of The Autotype Co., 74 New Oxford Street, W.C.
Catherine II., Empress of Russia. M. Beneditti. From a print in the possession of Mr. B. Jacobson

Portrait of a Lady in Grecian Dress. R. Cosway ....

H.R.H. Princess Amelia. Thos. Lawrence. By permission of The Autotype Co., 74 New Oxford St., W.C.

Pax Artium Nutrix. B. West. Do. Do.

Guardian Angels, or Silence. Do. Do-

Georgiana, Countess Spencer. Gainsborough. From a print in the possession of Mr. Frank Sabin

Do.
, 74 New Oxford St., W.C.
Do.

Do.

Do.

Vincent Lunardi. R. Cosway

Euphrosine. G. Amiconi. By permission of The Autotype Co.,

Psyche Going to Bathe. G. B. Cipriani.

Miss Farren. Sir Thomas Lawrence

Angelica Kauffman. Sir Joshua Reynolds. Do. Do.

Thais. Sir Joshua Reynolds. By permission of Messrs. Siegle Hill ft Co. -

Charity. I. B. Cipriani. By permission of The Autotype Co., 74 New Oxford Street, W.C.

Autumn. G. B. Cipriani. Do. Do.

Jupiter and Juno. G. B. Cipriani. Do. Do.

The Fair Student. G. B. Cipriani. From a print in the possession of Messrs. J. Rimell & Son

Duchess of Devonshire. J. Nixon. From a print in the possession of Mr. Frank Sabin -

Mrs. Siddons. H. Hone - - Do. Do.

Portraits of Elizabeth and Mary Beauclerk. Lady Diana Beauclerk

The Dance. H. Bun bury. .....

Visiting Cards : Sir Joshua Reynolds's ....

Mrs. Parker's .....

Zephyrus. Colibert. By permission of The Autotype Co., 74 New Oxford Street, W.C.
Flora. Colibert. Do. Do.

Maria Cosway. R. Cosway. From a print in the possession of Mr. Frank Sabin

Page

xx.

xxiv.

xxxii.
xxxvi.

xl.

xlviii.

1

4

10

14

20

28

32

36

40

44

48

52
57

1
2

3

4

5

6

6

7

7

8

9

10

11

12

12

13

13

14

15

15

16

17

17

17

18

19

20

81

List of Illustrations.

Hebe. G.B.Cipriani. By permission of The Autotype Co., 74 New Oxford Street, W.C.
Fire. C.B.Cipriani. From a print in the possession of Messrs. J. Rimell & Son.

Air. G. B. Cipriani. Do. Do.

Earth. G. B. Cipriani. Do. Do. " -

Water. G. B. Cipriani. Do. Do.

Lovelace in Prison. I. F. Rigaud From a print in the possession of Mr. B. Jacobion.

The Judgment of Paris. Angelica Kauffman. From a print in the possession of Mr. B Jacobson.

The Right Honble. Lady Jane Dundas. J. Hoppner. From a print in the possession of Mr. Frank Sabin

Zeuxis Composing the Picture of Juno. Angelica Kauffman

From a print in the possession of Mr. B. Jacobson.
Cupid's Manufactory. F. Albani. By permission of Messrl. Siegle Hill * Co.

Infant St. John. Guercino. Do. Do.

Mother and Child. Guercino. Do. Do.

The Deserted Village. F. Wheatley. By permission of The Autotype Co., 74 New Oxford Street, W.C.

Horace. Ang. Kauffman. By permission of Messrs. Siegle Hill 4 Co.

Sterne's " Maria of Moulines." I. H. Benwell -
The Gipsy Fortune Teller. I. H. Benwell

The Fair Ariadne. By permission of The Autotype Co., 74 New Oxford Street, W.C.

Mansion House Ticket. G. P. Cipriani
„ „ „ (Proof state)

Masonic Frontispiece .....

Master Philip Yorke. Sir Joshua Reynolds. By permission of The Autotype Co., 74 New Oxford St., W.C.

Boys Playing with a Lamb. Simone de Pesaro ....

By permission of The Autotype Co., 74 New Oxford Street, W.C.
Four Boys with a Vase. Guercino. By permission of The Autotype Co., 74 New Oxford Street, W.C.
An Italian Concert. Guercino. By permission of Messrs. Siegle Hill & Co.

Holy Family with Angel. Guercino. Do. Do.

G. B. Cipriani, R.A. From a print in the possession of Mr. Frank Sabin - -

His Grace the Duke of Marlborough. Engraved by J. Ogborne after F. Bartolozzi -

From a print in the possession of Mr. B. Jacobson.
Madonna del PeSCC Raphael. By permission of The Autotype Co., 74 New Oxford Street, W.C.

George, Third Duke of Marlborough, Caroline his Duchess, and Child. Saml. Shelley

By permission of The Autotype Co., 74 New Oxford Street, W.C.

John Philip Kemble. W. Hamilton. Do. Do.

Pastoral Subject. Do. Do

Eve and the Serpent. W. Hamilton - - . .
Charity (Queen Charlotte as Charitable Benefactress)

A Naiad. G. B. Cipriani. From a print in the possession of Messrs. J. Rimell & Son

Venus and Adonis. Cosway. Do. Do.

Ariosto's " Orlando Furioso." Canto XXXV. Stanza XII. G.B.Cipriani
Business Card for Wm. Wilson ....

Psyche Going to DreSS. I. G. Cipriani. From a print in the possession of Mr. Frank Sabin
Winter. F. Wheatley. By permission of The Autotype Co., 74 New Oxford Street, W.C.

Maternal Love. G. B. Cipriani ....

Spring. R. Westall. Do. Do.

Hope. Do. Do.

Venus Chiding Cupid. Sir Joshua Reynolds. By permission of The Autotype Co., 74 New Oxford St., W.C
Hercules and Omphale. G. B. Cipriani. Do. Do.

Rinaldo and Armida. Angelica Kauffman. From a print in the possession of Mr. Frauk Sabin
Griselda. Angelica Kauffman. By permission of The Autotype Co., 74 New Oxford Street, W.C.

Harriet Viscountess Bulkeley. R. Cosway -

Donald and Jessie. R. Cosway. From a print in the possession of Mr. Frank Sabin

Henrietta Frances Viscountess Duncannon. Lavinia, Countess Spencer

From a print in the possession of Mr. Frank Sabin.
The Rt. Hon. Anne Countess Cowper. W. Hamilton From a print in the possession of Mr. Frank Sabin

Nymphs at Fountain. G. B. Cipriani - - Do. Do.

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82

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